For the purposes of this post, I’m defining macrophotography as imaging at greater than life size on the sensor. In my case, that means working between 2× and 5× magnification on a 33 by 44 millimeter sensor, specifically the one in the Fujifilm GFX 100 II. That is a large sensor, so 5× allows printing at 30 or 40 times lifesize.
The core of my setup is a Cambo Ultima II, a technical camera that I’ve modified using the Cambo Actus upgrade kit. That lets me use Actus lens boards and camera mounts. I’m also using Cambo’s longest bellows, which gives me enough extension to reach 5× on the sensor with the Rodenstock 105 mm f/5.6 HR Digaron Macro lens. It does a good job, but I’ve asked Cambo to make me a custom lens board for the Mejiro Genossen FL0530 4.0/110 mm Macro Varon, which I expect will deliver better results at the high end of the magnification range.
I also have a Cambo Actus and a Swebo TC-1, but I chose the Ultima II for this task because it is sturdier and more resistant to vibration. When working at this level of magnification, even slight instability can spoil a frame. I’m using ES mode on the GFX 100II to minimize vibrations, and I’m letting the system settle down for 6 seconds after the rail moves. Typical stack depths are in the 100- to 150-exposure range.
To manage stacking and fine positioning, I’m using two Cognisys rails, one dedicated to stacking and the other to fine adjustment. For additional manual fine positioning, I’m using Swebo rails. Everything is tied together with a ragtag assemblage of Arca-dovetail rails and clamps. The stacking rail moves the subject rather than the camera, which is easier on the rail. The basic orientation of the setup is horizontal. But I often want to shoot downward, so I added a 1/20th wave mirror assembly from Edmunds, which I can mount in front of the lens when needed.
Lighting has been a bit of an evolution. I started with Adaptalux, which I liked in concept, but it just was not bright enough for me. I switched to small Aputure LED panels, which provide a lot more output. Since I often light from behind, I need a lot of photons. I use Rosco gels to shape and color the light.
Near the front of the lens is a 1/20th wave mirror assembly from Edmunds Optics, mounted for shooting subjects from above while maintaining a horizontal rig layout. The subject here, a slice of red onion in a Petri dish, is lit from behind using an Aputure LED panel with a red Rosco gel.
The rig is not small, and it is not simple. But it works well for this kind of photography. The equipment itself is not the point, but at these magnifications, the right gear can be the difference between frustration and progress.
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