I just remembered one thing I left out of my previous far-to-long post, a
sidelight to the recent discussion about extremely small apertures.
Those of you who read Pop Photo will recognize the name Steve Sint, a New
York commercial shooter, former ASMP president, and occasional columnist. He
once shot for model train magazines. As someone who does this, I can tell
you that it presents some challenges in the depth of field area. you are
working at extremely close ranges, on the edge of macro photography, and
trying to obtain a sense of realism. to get that sense, great depth of field
is necessary, as you are simulating photos shot at near infinity, with
photos shot at a foot or so. Sometimes, these photos are shot with pinhole
lenses, but the result is frequently just an overall softness that is
obvious even in magazine reproduction.
Sint's solution was to take his 55mm micro Nikkor to New York's Professional
Camera Repair, frequently mentioned in magazines. He had an additional
diaphragm blade added, with a pinhole in it. An extra click stop past f32
brought this blade into the path, and gave something like f64, if I remember
correctly. I once thought about contacting him about the details, including
price, but never did. I continue to shoot most of my model photos with an
old Nikon F and either a 55 or 105 micro, simply because they stop down one
stop further than the Olympus lenses. Sharpness losses due to diffraction
are substantial, but what the customer wants, the customer gets, and that's
maximum depth of field.
A year or so ago, I got to shoot a layout with the Canon 45mm tilt and
shift. The EOS body was a real pain, but the shift feature was a real
godsend. Someday, I hope to try the same shots with a friend's Arcbody.
Regards,
Bill Pearce
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