Getting ready for macro work

[JimKasson]

I'm starting to get set up for macro work. Here's what I've got so far:







I've got five axis geared control of the place where I"ll put the subjects. I'ive got a long focusing rail for big magnifications. I've got a Cognisys rail to move the subject for stacking.

What do people use for mounting the subject in a setup like this?

Jim

--

the last word the last word - Photography meets digital computer technology. Photography wins -- most of the time.

Photography meets digital computer technology. Photography wins -- most of the time.

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[Erik Kaffehr]

For flowers I used to use something like this:





Or I use a small glass bottle filled with gravel and water.



Best regards

Erik

--
Erik Kaffehr
Website: http://echophoto.dnsalias.net
Magic tends to disappear in controlled experiments…
Gallery: http://echophoto.smugmug.com
Articles: http://echophoto.dnsalias.net/ekr/index.php/photoarticles

 

[Crispy_Bee]

What do people use for mounting the subject in a setup like this?

Jim

I use different mounting systems for different subjects: Beetles and butterflies are either pinned or glued to pins - the pins are then either stuck into some kneaded eraser or clamped using alligator clips. Then it's placed on a stack of various trimming platforms and linear stages (X/Y/Z/R).
Larger specimens can simply be put on these platforms/stages directly.

For flat subjects (paper, stamps, coins,...) I use the rig in a vertical orientation with plexiglass plates as holders. Additionally I also have mounting methods for microscope slides and a solution for slightly larger/heavier stuff like medium-sized stones/minerals,..they all require a slightly different approach.

however I would definitely not put the subject on a motorized rail, for the following reasons:

1. You introduce vibrations directly onto the subject. It's "bad" enough to do it on the camera side, but the subject may be mounted on a long, thin pin or it may have fine hair etc - all of which would react to even minute vibrations and movements and even more so when it comes to larger step sizes in quick succession. A large, heavy camera would dampen vibrations in a short amount of time, a long thin pin will keep vibrating for quite some time even when one side is stuck in kneading eraser.

2. unless you put the lights onto the rail as well, they are going to remain in place while the subject moves. That may cause changes in shadows, reflections, light falloff and intensity, especially with deep stacks, which will be a problem later on.

3. The alignment has to be very precise, especially at higher magnifications, otherwise it'll introduce a problematic drift, even with a minor misalignment. In your case it's even more difficult because the rail is mounted on a tripod head where minor deviations could occur on all axes (and also potential shifts in gravity combined with the rather soft rubber surface of the horrible Manfrotto tripod plates).

4. it gets in the way when you want to use different backgrounds or use some light from behind /below the subjects.

You may also want to re-think the sideways (perpendicular) swebo rail for the same reason, it'll probably get in the way more often than you'd think. Better to use a small linear stage for macro stuff.

 

[JimKasson]

What do people use for mounting the subject in a setup like this?

Jim

I use different mounting systems for different subjects: Beetles and butterflies are either pinned or glued to pins - the pins are then either stuck into some kneaded eraser or clamped using alligator clips. Then it's placed on a stack of various trimming platforms and linear stages (X/Y/Z/R).
Larger specimens can simply be put on these platforms/stages directly.

For flat subjects (paper, stamps, coins,...) I use the rig in a vertical orientation with plexiglass plates as holders. Additionally I also have mounting methods for microscope slides and a solution for slightly larger/heavier stuff like medium-sized stones/minerals,..they all require a slightly different approach.

however I would definitely not put the subject on a motorized rail, for the following reasons:

1. You introduce vibrations directly onto the subject. It's "bad" enough to do it on the camera side, but the subject may be mounted on a long, thin pin or it may have fine hair etc - all of which would react to even minute vibrations and movements and even more so when it comes to larger step sizes in quick succession. A large, heavy camera would dampen vibrations in a short amount of time, a long thin pin will keep vibrating for quite some time even when one side is stuck in kneading eraser.

2. unless you put the lights onto the rail as well, they are going to remain in place while the subject moves. That may cause changes in shadows, reflections, light falloff and intensity, especially with deep stacks, which will be a problem later on.

3. The alignment has to be very precise, especially at higher magnifications, otherwise it'll introduce a problematic drift, even with a minor misalignment. In your case it's even more difficult because the rail is mounted on a tripod head where minor deviations could occur on all axes (and also potential shifts in gravity combined with the rather soft rubber surface of the horrible Manfrotto tripod plates).

4. it gets in the way when you want to use different backgrounds or use some light from behind /below the subjects.

You may also want to re-think the sideways (perpendicular) swebo rail for the same reason, it'll probably get in the way more often than you'd think. Better to use a small linear stage for macro stuff.

Good advice. Thanks.

 

[Ian Stuart Forsyth]

I'm starting to get set up for macro work. Here's what I've got so far:



I've got five axis geared control of the place where I"ll put the subjects. I'ive got a long focusing rail for big magnifications. I've got a Cognisys rail to move the subject for stacking.

What do people use for mounting the subject in a setup like this?

Jim

I like using a ball head with a clamp attached to a plate

--
The Camera is only a tool, photography is deciding how to use it.
The hardest part about capturing wildlife is not the photographing portion; it’s getting them to sign a model release

 

[A74Me]

For hi precission stacking at 15 x all my rails are hi tenstile CNC rails with continous roller ball cars (no play). the rails are srewed directly onto the black form ply which has rubber feet to stop harmonic vibrations acumulating . my cnc screw drive is mounted parallel to the main cnc rail and the subject car is attacted via a thin aluminium bridge so when the worm drive system is activated does not transfer vibrations to the camera/subject rail. i also do not use step drive systems but continous none vibration drives and shoot at 11 frames per sec contious with black out free evf/monitor for a si-fi scanning experience using focus peaking via a 7inch field monitor.

looking at your system. vibration will be the main problem. if i have harmonic problems i use post tension systems to counteract ( thats another topic )

 

[JimKasson]

Not shown in the image, because I want to do some experimentation before I deal with them (they are very heavy), are the vibration isolators I use. The ones I use were made for microscopy.

 

[A74Me]

Not shown in the image, because I want to do some experimentation before I deal with them (they are very heavy), are the vibration isolators I use. The ones I use were made for microscopy.

there seems alot hanging off 1 balance point with the geared head and the focus rail system. i have kept all the mechenics as low as possable and extended lightwitght 50x50x2mm aluminium columns to support the lightweight subject platform.

 

[Rand 47]

I'm starting to get set up for macro work. Here's what I've got so far:



I've got five axis geared control of the place where I"ll put the subjects. I'ive got a long focusing rail for big magnifications. I've got a Cognisys rail to move the subject for stacking.

What do people use for mounting the subject in a setup like this?

Jim

Depending on how heavy your subject is, these might work well. I have a couple of them and they are nice and flexible for positioning. The little black pieces in the jaws are foam and work well for gripping flower stems and things like that. Little screw-down clam makes getting tension “just right” easier than if it was just spring-loaded.



https://www.bhphotovideo.com/c/product/1047197-REG/wimberley_pp_200_the_plamp_ii.html

Rand

 

[just Tony]

I almost titled this reply “the three most important things about rigidity”… with a good answer being “triangulation, triangulation, and still more triangulation”. If you can’t reasonably do that, then:

I see two rails heading far to the left, down low. Can you add a rigid member between them, ready to take up loads in either tension or compression?

Reducing the number of joints: Do you actually need two fore-and-aft rails under the subject, or can the motorized transport handle all the duties?