Updating broken links

The Internet is dynamic. Resources come and go, and Web addresses change. As a consequence, my blog is littered with a lot of broken links. I’m unaware of many of the broken links, and I’m disinclined to make the effort to fix some of the others.

But when someone takes the time to let me know about a broken link to a useful resource, I make an effort to update my blog. Case in point, Sharon Pitcairn Forsyth gave me a heads-up recently that two links were broken in my Stylurus spiniceps exuvia blog post. I’m happy to report the problem is solved.

Gomphids to Genus, by Kevin Hemeon | NymphFest 2016

Stylurus to Genus, by Kevin Hemeon | NymphFest 2016

Full disclosure: Both of these Microsoft PowerPoint presentations were created by Kevin Hemeon and presented by Kevin during NymphFest 2016 on March 04-06 in Bennington, Vermont. I’m not sure whether I’m authorized to redistribute these reference documents, but in my defense they were released into the wild by workshop host Bryan Pfeiffer soon after the end of NymphFest 2016. And as anyone who has dealt with genies knows, it’s impossible to get them back in the bottle after they’re released.

Related Resources

• Stylurus spiniceps exuvia, a blog post by Walter Sanford.
• Odonate Exuviae, a permanent page of resources created by Walter Sanford.

Copyright © 2023 Walter Sanford. All rights reserved.

Customizable buttons

Customizable buttons is one of the better features of modern mirrorless digital cameras. There was a time when camera buttons weren’t customizable and you had to live with the way a camera was designed — take it or leave it. Now it’s possible to customize most (if not all) of the camera buttons so they work the way you prefer.

For example, I love me some “back-button focus.” Fujifilm got it right when they designed the X-T1 and X-T3 — the button is exactly where it should be, highlighted by a red circle in the following annotated images.

Fujifilm X-T1. AF-L button is used for “back-button focus.”

Fujifilm X-T3. AF-L button is used for “back-button focus.”

But Fujifilm lost their way on the X-T5. By default, the button assigned to back-button focus (AFON) is too far from my right hand that’s holding the camera grip. Instead, the button assigned to the Quick Menu is located where back-button focus had been for years.

Fujifilm X-T5. Swap functions of AFON and Q buttons.

Hey, no problem — just customize the buttons to perform different functions, in this case, change one to the other and vice versa.

There are several good YouTube videos that demonstrate how to customize the buttons on your Fujifilm X-Series camera, such as the one listed under Related Resources. Here’s an overview of the steps to follow.

Power-on the camera. Press and hold the “DISP/BACK” button until a graphic appears on screen that shows all the camera buttons and their default function. Use the D-pad to navigate to a button you would like to customize; press the right D-pad button to select a function button and choose a new function from a long list of options. It’s that easy!

Related Resources

• Fuji Guys – FUJIFILM X-T4 – Customizing FN Buttons, by the Fuji Guys Channel (1:20).
• Function Controls – Fujifilm X-T5 Owner’s Manual. See the section entitled “Roles That Can Be Assigned to the Function Buttons” for a complete list of options.
• Fuji Back Button Focus, by Ashraf Jandali (4:06). This video provides a clear demonstration of how to use back-button focus on the Fujifilm X-T1. The same technique works with the Fujifilm X-T3 and X-T5.

Copyright © 2023 Walter Sanford. All rights reserved.

Did you know … ? (plus Post Update)

Did you know that flash power ratios are relative, not absolute? I didn’t, that is until I bought a Godox MF12 macro flash and was testing it in combination with a Godox TT685C Speedlite.

Are flash power ratios absolute or relative? In other words, is 1/16 power the same strength across all devices? When I set my MF12 and TT685C for 1/16 power, the MF12 doesn’t look as bright as the TT685C. Thanks for answering my question! Source Credit: Godox User Group on Facebook.

Sincere thanks to all the members of the group who kindly answered my question! One answer stood out from the others.

Walter Sanford – The TT685 is closer to 65 W, and the MF12 is roughly 12 W. The TT685 at 1/8 + 3 should be close to the MF12 at 1/1. But that can still be off, as the difference in reflector shape can change the output. Source Credit: Samuel Gibson.

The guide number of the TT685C is 197′ (power ratio 1/128 – 1/1); the guide number for the MF12 is 16′ (power ratio 1/128 – 1/1). Clearly the TT685C is the more powerful flash.

Post Update

The Godox MF12 Macro Flash is underpowered, doesn’t support high-speed sync, and doesn’t feature removable batteries. Perhaps now it’s clear why I said “I won’t buy more MF12s.”

Copyright © 2023 Walter Sanford. All rights reserved.

Godox MF12 Macro Flash (plus Post Update)

Do you remember when I announced I bought a Godox MF12 Macro Flash? That’s because I didn’t. I just bought one and started using it.

Maybe you noticed I created a new Category called “Godox MF12.” It’s more likely you didn’t. Please know that I use Categories and Tags in order to make it easier for readers to search for and find specific information.

Testing 1, 2, 3 …

I’m already heavily invested in the Godox flash ecosystem, so when a “usually trusted source” gave high ratings to his new Godox MF12s I decided to buy one for testing. Full disclosure: I hesitated to pull the trigger when I realized the MF12 costs almost as much as full-size flashes such as the TT685 series. That just doesn’t seem fair/right to me!

I think the intended use for Godox MF12s is to mount one or more flash units on a system of rings that fit on lenses with different filter thread sizes. I know a lot of photographers who own MF12s but as far as I know no one actually uses them mounted on a lens, and no one uses them for macro photography in the field.

Instead, the macro photographers I know use their Godox MF12s as small, lightweight flashes perfect for macro photography in the studio. They say several MF12s, set for low power, add up to nice soft light that’s both bright and relatively free of specular highlights. When used that way, the MF12s seem to work well.

Photo courtesy B&H Photo.

I think it’s fair to ask “Do the MF12s work better than larger, more powerful flash units used at lower power ratios with lots of diffusion?” The objective answer is, “No, not really.” During limited testing using flash equipment I own already, my results are comparable to theirs.

No high-speed sync.

But wait, there’s more. Recently I discovered the MF12 doesn’t support high-speed sync (HSS). That’s on me — I just assumed any modern external flash unit would support HSS, especially since most (if not all) Godox flashes do. But the MF12 doesn’t and that’s a deal-breaker for me. Post Update: I think it’s worth noting that macro flashes available from Canon and Nikon do support HSS, although they cost much more than the Godox MF12.

Slower shutter speeds aren’t a problem in the studio when my camera is mounted on a tripod, but when I’m in the field I prefer to use shutter speeds faster than the default sync speed of my cameras. For this reason alone, I won’t buy more MF12s.

There is one “pro.”

Notice the button labeled with an icon that looks like an asterisk. That button toggles a modeling light on/off. Better, some flash triggers such as my new-ish Godox XProF II can remotely power on/off the modeling light plus set the relative power of the modeling light (from 1 to 10).

Photo courtesy B&H Photo.

ALL external flash units should include a modeling light. The MF12 does but in my opinion that’s insufficient for me to recommend the product.

Post Update

In an effort to get right to the point about what I dislike most about the Godox MF12 Macro Flash, I didn’t gripe about its built-in Lithium ion battery. I think it would be better if the MF12 featured a removable battery of some type.

As designed, the internal battery can be recharged by connecting the flash unit (via USB cable) to either an AC power source or portable power brick such as the Anker PowerCore+ 26800 PD 45W.

In my opinion, the fact that you can’t simply swap in a fresh battery makes this flash less suitable for use in the field.

How does the flash perform when its battery is fully charged?

The powerful built-in lithium battery supports approximately 500 full-power flashes with a 0.01 to 1.7 second recycling time. Source Credit: B&H Photo.

I would say 500 flashes might be overly optimistic, based upon my experience using the Godox MF12 for focus bracketing. I don’t have lab testing equipment so I can’t confirm the flash recycling time, but I can say it’s fast enough to fire continuously in burst mode when using lower power ratios.

Related Resource: Godox: #MF12 Macro Flash Operational Tutorial, by GODOX Global (3:25).

Copyright © 2023 Walter Sanford. All rights reserved.

Sometimes you get what you pay for.

I love me some Manfrotto clamps and articulating arms. But — and it’s a big but — two points diminish my enthusiasm for Manfrotto gear.

First and foremost, in my strong opinion many (if not all) Manfrotto products are way overpriced.

Second, Manfrotto seems to be obsessed with slathering many of their products with excessive amounts of grease and lubricants. Almost every Manfrotto product I have purchased required a thorough cleaning before I felt comfortable using it with my cameras and lenses.

SmallRig

On the strength of a rave recommendation from a trusted source (henceforth known as a “usually trusted source”) I bought some clamps and articulating arms made by a company called “SmallRig.”

The price is definitely right and their products work as advertised. I would call SmallRig clamps and articulating arms “less greasy” than comparable Manfrotto gear, but some clean-up is still required before use.

Initially I was pleased with the build quality of the SmallRig clamps and articulating arms. Over time I noticed some of the gear I bought has started to fall apart.

For example, notice the rubber pad on the inside of the jaws of one of my SmallRig Super Clamps has peeled away from the metal.

Close-up of SmallRig Super Clamp.

And the rubber gasket on one end of a small articulating arm has peeled away from the metal. I noticed the problem when a blob of what appeared to be rubber cement got on my fingers when I was setting up external flash units for a photo shoot.

Close-up of SmallRig 5.5″ articulating arm.

What are the take-aways?

Do the products still work? Yes, I guess they do although I must admit my confidence in the brand is gone.

Anyone who knows me well knows I am very gentle with my photography gear so it cannot be said these products are failing due to abuse. Not to belabor the point, but if I should decide to sell any of my equipment then you should buy it STAT because every used item would be fairly rated as “pristine.”

As a service to my fellow photography enthusiasts I am issuing a “Do Not Buy” advisory for SmallRig clamps and articulating arms.

Related Resources

• Manfrotto
• SmallRig Super Clamp w/ 1/4″ and 3/8″ thread 735
• SmallRig 5.5″ Articulating Arm

Copyright © 2023 Walter Sanford. All rights reserved.

Henry Moore Sundial Sculpture

The Henry Moore Sundial Sculpture is located at Sundial Plaza alongside the Adler Planetarium & Astronomy Museum in Chicago, Illinois USA. (41° 52.006′ N latitude, 87° 36.426′ W longitude.)

Bowstring Equatorial Sundial

This type of sundial is a variety of the classic equatorial sundial, often referred to as a “bowstring equatorial sundial” because it looks somewhat similar to the “bow” in “bow & arrow.”

Remember, an equatorial sundial is a reduced model of the Earth. (More about that in a follow-up blog post.) A bowstring equatorial sundial is a “reduced equatorial sundial” — think of it as a kind of skeleton equatorial sundial.

The large red circle shown in the following annotated photo represents the Earth.

The dial plate (representing the equatorial plane) has been reduced to a semi-circular band that represents approximately one-half of the Earth’s Equator, This part of the sundial is referred to as the “equatorial band.” The equatorial band serves as the “time scale.”

Parts of a “bowstring equatorial sundial.”

The gnomon (or style) is a thin rod (the “bowstring”) representing the Earth’s axis of rotation.

The vertically-oriented “bow” represents a single meridian (line of longitude) and is referred to as the “meridian band.” The bowstring is connected to the bow at the equivalent of the Earth’s North and South Poles.

The bow is attached to a pedestal or “foot” (ped- is Latin for foot).

Time scale or time band, showing time of day.

The hour lines for the bowstring equatorial sundial are laid out on the inner surface of the equatorial band. Every hour is 1/24 of a day, or exactly 15 degrees wide. The shadow of the gnomon (or style), cast among the hour lines on the equatorial band, shows the time. The meridian band (“bow”) bisects the equatorial band (“time scale”); the 12 o’clock noon hour line is located on the time scale where the two bands intersect (since solar noon occurs when the Sun crosses the observer’s meridian). Facing north, morning times are located on the left side of the equatorial band; afternoon times are on the right.

In contrast to the classic equatorial sundial, the primary advantage of the bowstring equatorial sundial is that the style shadow is cast upon a single time scale all year long (regardless of whether the Sun is north or south of the Celestial Equator). Unlike the classic equatorial sundial, the bowstring equatorial sundial should work on the day of the equinoxes (although the author has not witnessed this firsthand).

Setting the Sundial

Similar to setting the correct time on an analog clock or wristwatch (by moving the hands of the timepiece into proper position), properly orienting an equatorial sundial will move the gnomon (or style) shadow into position so that the time scale displays the correct time of day.

The gnomon should be parallel to the Earth’s axis, inclined at an angle equal to the latitude of the observer.

41° 52.006′ N latitude.

North American Sundial Society member Fritz Stumpges is shown using a “SmartTool” to measure the angle of inclination of the gnomon (“bowstring”).

41.9 degree angle of inclination.

The dial plate/equatorial band should be parallel to the plane of the Earth’s Equator (perpendicular to the gnomon), inclined at an angle equal to the complement of the observer’s latitude — the angle that when added to the angle of the observer’s latitude equals a right angle in measure (90°). This angle is also known as the colatitude.

Colatitude 48.1 degrees.

Place the sundial on a horizontal surface; the top of the gnomon should point toward the Celestial North Pole (i.e., Polaris, the North Star). More simply, the sundial should be set so the 12 noon hour line is aligned with your local meridian.

Related Resources

• Equatorial Sundials
• NASS Sundial Registry No. 223

Tech Tips

When I visited this sundial in 2005, I owned almost no photography gear. I used a one-time use film camera to shoot the photographs featured in this blog post. After I returned home, I had the film processed, digitized, and saved to a photo CD. The photo of the time scale/time band has a resolution of 3091 x 2048 pixels.

Copyright © 2023 Walter Sanford. All rights reserved.

“Magic Mylar” Moonlight

In a recent blog post entitled “Magic Mylar” diffusion material (plus Post Update), I shared the results my initial experimentation with a new material for light diffusion. Since then I added more mylar for multiple layers of diffusion and I must say I’m liking the results!

Toy dinosaur.

I used single point focus, positioned over the eye of the dinosaur. See why it’s necessary to use focus bracketing/focus stacking?

By now, some of you might be tired of looking at my toy dinosaur. That’s OK, he has thick skin [Get it?] and can withstand a little good natured griping. But seriously, he’s the perfect model for testing light diffusers due to the highly reflective plastic of which he is made.

“Magic Mylar” — where it all began

A friend and expert in macro photography kindly shared several sheets of diffusion material with which he is getting great results. The material is made of mylar plastic, matte on both sides.

Tunnel of Light II

I created a variation of my friend’s “Tunnel of Light.” Using my set-up, the mylar is almost perfectly round and surprisingly rigid.

Tunnel of Light (front/side view). Don’t mind the background clutter!

A single sheet of mylar is clamped to the white plastic top from a big jug of pretzels. The round top is ~4.5″ in diameter.

The jar top is held in place by a Wemberley The Plamp II. At a price point of $49.00, I don’t recommend buying a Plamp in order to make your “Tunnel of Light” — I just happened to have one on-hand and it does the job. I’m sure you can find a suitable clamp using off-the-shelf materials.

Tunnel of Light (rear/side view).

Three Impact ABS 3.75″ Small Spring Clamps (6-Pack) are used to hold the mylar in place. The orange “pivoting nylon pads for uneven surfaces” snap on/off, and as you might expect, tend to snap off at the worst times! For that reason, I DO NOT recommend these clamps. The price was right [$5.40] but you can’t count on them to perform in a pinch without fail. [See what I did there?]

I’m thinking about replacing the white plastic jar top with a PVC pipe fitting, the advantage being it would support the mylar while allowing a view of interchangeable backgrounds through the tunnel of light.

“Magic Mylar” everywhere …

How I got the shot

The toy dinosaur was placed inside the “Tunnel of Light II.” Two small LED light panels were used to light the scene for both setting exposure and focusing. Two external flash units were added for “pop.” All of the light sources were diffused with “Magic Mylar” plus one or more additional light diffusers such as the Altura flash modifier, shown in the preceding photo.

The goal is to use several light sources, set for low power, that add up to nice soft light that’s both bright and relatively free of specular highlights. Looks like I’m on the right track.

Copyright © 2023 Walter Sanford. All rights reserved.

Helicon Focus: Rendering in action (plus Post Update)

In my last blog post, I shared a composite image that was created using Helicon Focus to focus stack 99 JPG photos taken automatically using my Fujifilm X-T5 set for AUTO FOCUS BKT.

The following video demonstrates two strengths of Helicon Focus.

1. It’s relatively simple to use. Creating a focus stacked composite image can be as easy as a two-step process: add source images to Helicon Focus by drag-and-drop; click the “Render” button.
2. Rendering works quickly. For example, 99 photos focus stacked in ~50 seconds! (~00:08 s to ~00:58 s.)

The main window features two panels: the panel on the left shows the source images as the focus stack is created; the panel on the right shows the final output.

The right sidebar shows a list of filenames for the source images. When a filename in the list is highlighted, the corresponding image is displayed in the left panel of the main window.

Look closely at the final output, shown in the right panel in the main window. Notice the “ghost” artifact that’s visible near the tip of the toy dinosaur’s tail. Otherwise, the composite image looks perfect.

Click here to see a Screen Recording of the Rendering process.

I have no idea what caused the artifact. For whatever reason, some of the composite images I have created using Helicon Focus have one or more artifacts.

In contrast, every time I have used Fujifilm AUTO FOCUS BKT it has worked perfectly. (He said with fingers crossed.)

Related Resources

• https://youtu.be/jr5SMaO4qWI
• When dinosaurs attack! – This blog post shows the final image after I used Helicon Focus “Retouching” to fix the “ghost” artifact.
• Focus bracketing and focus peaking – When I watched the real-time display of Helicon Focus rendering “Method C” for the first time, I was reminded of a blog post featuring two videos I created to demonstrate how focus peaking can show the way focus bracketing works. Those videos aren’t as steady and smooth as I’d like, but hey, not bad for a manual focus rail!

Post Update

When I tested the link to the video I noticed a problem with “flash dropout.” Two small LED panels and two external flash units were used to light the scene. Notice the flash on the right side of the subject didn’t fire in photo DSCF1214.JPG. That flash was a Godox MF12. Up until now, the MF12 flash has never failed to fire. For those who might be wondering, the Lithium Ion battery in the MF12 was fully charged before I started the focus bracket. I’ll watch it more closely to see whether reliability is an issue.

Copyright © 2023 Walter Sanford. All rights reserved.