Yep, the tethered view is a great feature, and a lot easier on your eyes, back, and neck.
10" ought to be a workable close focusing distance for layout shots, side views of finished engines and cars and that sort of thing. The lens does .38 magnification which roughly means you can make an image roughly 1/3 lifesize. The two lenses I use most often for ''macro" shots are a 24-85/f2.8-f4 AF-Nikkor, and an old 55/f3.5 Micro-Nikkor that both focus to a 1:2 image, half life-size. I would wait until exhausting the possibilities of the 18-55 before thinking about getting another lens.
I'd be willing to bet most of John Allen's classic photos weren't made on 35mm film. Studio professionals well into the 1970s and up to digital were working with 120 rollfilm and earlier with 4x5" sheetfilm on cameras that had swings and tilts allowing a lot of creativity with depth of field. Apples and oranges.
What do you plan to do for lighting?
Graham LineThe two lenses I use most often for ''macro" shots are a 24-85/f2.8-f4 AF-Nikkor, and an old 55/f3.5 Micro-Nikkor
Does that mean a 55/f3.5 from the days of film will work on these new electronic cameras?
Henry
COB Potomac & Northern
Shenandoah Valley
ROBERT PETRICKOr, do I need to get a special macro lens? The Nikon literature shows sharp crisp closeup photos of small bugs and whatnot.
I bought a couple "macro" lenses for my Canons. You have to watch the focal length here. The first one I bought is a 60mm and the field of view is very narrow for general layout photos. It is great for shooting small details but in order for me to get a decent view I had to place the camera too far away.
You can try an extention tube to attain closer focus, too, but there are drawbacks to these, sometimes. They're relatively inexpensive so they might fill in until you can narrow down your choice when you're ready to invest in a decent close-focus lens.
For layout shots, I find myself using a "prime" lens, one with a fixed focal length, because it is less bulky than a zoom lens (less glass). I like a wider field of view and I can do my cropping in the editing software.
Good luck, Ed
BigDaddyDoes that mean a 55/f3.5 from the days of film will work on these new electronic cameras?
Some will, but you will lose the "communication" that the lens has with the camera body. No autofocus, no auto aperature. You would be shooting strictly in manual.
https://digital-photography-school.com/old-glass-how-to-use-old-film-lenses-with-new-dslr-cameras/
For lighting I sometimes set up a couple of clamp-on LED par lamps or some mini-umbrella lamps on stands.
One handy light I use is similar to this:
https://tinyurl.com/yaz2qj79
but mine is older and a slightly different style. Still, it is handy to have a light source that you can place right into the scenery when you need low-angle lighting. Best to keep the room lights off so you eliminate distractions. Just light the subject.
Regards, Ed
gmpullmanSome will, but you will lose the "communication" that the lens has with the camera body. No autofocus, no auto aperature. You would be shooting strictly in manual. https://digital-photography-school.com/old-glass-how-to-use-old-film-lenses-with-
Like the good old days. My current digital camera is a Canon, but I still have my Nikon macro and telephoto lenses. Thanks, I will defintely try one.
'Big Daddy' asked: "Does that mean a 55/f3.5 from the days of film will work on these new electronic cameras?"
Some systems do, some systems don't. I'm only familiar with Nikon. In general, the lens will have all of the features it has always had. The 55/3.5 Micro-Nikkor works in aperture priority (A) mode but doesn't do autofocus. That's fine for a static set-up.
My 24-85AF works about the same on an F100 (film, autofocus) as it does on a D300 (digital, autofocus).
You also get into the issue of format. The F100 uses film that's 24x36mm. The sensor on the D300 is smaller, so the 50 delivers the viewing angle of a 75mm and the 24-85 behaves like a 36-120. But there are also Nikon digitals that have 24x36 sensors.
Some companies have altered lens mounts and all sort of things. It's a real swamp that gets deeper the farther you wade.
Yes, robt, that is what the 0.25 m distance means. I think you are good to go.
Bear "It's all about having fun."
One more thing, Robt. I believe that the camera has various shooting scenes, try the close up (blossom) scene first, and check your results.
bearman One more thing, Robt. I believe that the camera has various shooting scenes, try the close up (blossom) scene first, and check your results.
Hey Bear-
Yes, this model has quite a few pre-set and pre-loaded modes and scenes and has the ability for users to create and store additional customizable modes and scenes to fit their particular needs.
I think Nikon included these features for several reasons. First, they did it because they could; after all, this is a digital device more or less like any other digital device. And second, they are marketing this camera to new users and beginners and advanced beginners as well as serious ameteur professional photographers, and the modes and scenes pre-set the automatic features to settings that aid and enhance the popular and easy to use point-and-shoot style.
The pre-set modes have names such as 'birthday party', 'romantic candle-lit dinner', '4th of July fireworks display', 'high speed action sports on a bright sunny day', 'blushing bride on her wedding day', and so forth. Goofy? Yes, but descriptive and someplace to start for your own customization. In fairness, the pre-loaded scenes don't actually have names like I listed, but they have names (and little icons) that are like that.
And for the serious photographers who skoff at the frivolity, they are free to push the button and go into hard-core manual mode and take this baby out for a spin. I am certain it can deliver.
Robert
LINK to SNSR Blog
How often does everybody use Macro shooting for model railroad subjects?
.
I have never done this. I have found shooting at a normal distance on a high resolution mode, then cropping the picture to the detail I want works fine for me.
I have used Macro for shooting my wife's jewelry stones and some other neat subjects, but not model trains.
-Kevin
Living the dream.
That's why I suggested the OP exhaust the possibilities of his new 18-55 before he buys additional lenses. He may never need another lens.
You don't need often macro mode for general layout photos. You do need it if you want to photograph details. The photo below was made to illustrate the difference between Code 110 and Code 88 wheelsets.
I think that exhausting the possibilities of the 18 - 55 mm zoom is a good idea before venturing into any other lenses.
Graham LineThe lens does .38 magnification which roughly means you can make an image roughly 1/3 lifesize.
Another way to look at this is that since the sensor is 22.2 x 14.8 mm, you can fill the frame with a subject that is 58.4 x 38.9 mm or 2.3 x 1.5 inches (the face of a n-scale locomotive will fill about 1/4 of the frame). If that's good enough for you, you may not need any other lens.
BTW: Technically "macro" photography is when the image on the film/sensor is larger than life size - magnification > 1.00. Very few of the lenses called "macro zoom" actually do that.
I have the right to remain silent. By posting here I have given up that right and accept that anything I say can and will be used as evidence to critique me.
carl425 Graham Line The lens does .38 magnification which roughly means you can make an image roughly 1/3 lifesize. Another way to look at this is that since the sensor is 22.2 x 14.8 mm, you can fill the frame with a subject that is 58.4 x 38.9 mm or 2.3 x 1.5 inches (the face of a n-scale locomotive will fill about 1/4 of the frame). If that's good enough for you, you may not need any other lens.
Graham Line The lens does .38 magnification which roughly means you can make an image roughly 1/3 lifesize.
My plan is to use the 18 - 55 mm lens for a while to see what's what. I seriously doubt I'll ever get anywhere near to exhausting the possibilities, but I have a few scenarios I want to explore.
Some close up "macro" images where the subject is a single N scale car or typical activities on an industrial loading dock. Vignette scenes that are about 12 inches by 12 inches or so. Maybe a little larger or smaller.
Slightly larger scenes that show a pretty good length of train or an entire consist of a dozen cars or activities along a street or siding. Maybe 5 feet long by 12 inches deep.
Even larger scenes showing the end of a peninsula or a broad sweep of benchwork. Maybe ten feet by eight feet. Slightly elevated perspective to get the overall impression of the vicinity.
These are typical images that have been produced countless times over the years by many others. I'm hoping that I will come up with new and creative ideas as I go along.
You guys are helping. Thanks.
ROBERT PETRICK....Very small to extremely small subject matter Double extra small for N Scalers. Whether it's rivets on the bulldog nose or handles on the hatches or micro-print on the builder's plate, I want to capture and show the extreme detail our hobby offers nowadays. That means I'll need a camera capable of producing macro closeups in crisp sharp detail.....
While the photo below (showing 3D rivet decals about to be applied individually) is certainly not of publication quality, it was done with an old, fairly simple, point-and-shoot camera and a loupe....
Wayne
doctorwayneI have heard that one of the prime requirements for publication-acceptable photographs is that they be shot in RAW format.
When I was working with an MR editor on an article, he requested all the images be in JPG.
He was very clear that there was to be no manipulation of the photo prior to submission, not even cropping. The art department handles that.
Steven Otte has a very good sheet he can send with the requirements for photographs. He also provided and excellent checklist in another thread. All this was very helpful for me.
doctorwayne In my humble opinion, you can have the best camera available (and the knowledge to fully utilise its features) but if your sense of photo composition is lacking, you won't be successful. Wayne
In my humble opinion, you can have the best camera available (and the knowledge to fully utilise its features) but if your sense of photo composition is lacking, you won't be successful.
Hey Doc-
I agree. Wholeheartedly. I'm getting into this hobby (and this branch of our hobby) with open eyes, and I do not expect miracles to happen all by themselves just because I managed to get myself a new toy.
Pianos have 88 keys; guitars, 6 strings. A lot of people can plink out serviceable tunes on either, but there are those who can make those bits of wood and wire sing.
I've no idea how things will shake out, but I'm approaching this adventure like I approach any other: with gusto and high fives all around.
SeeYou190...When I was working with an MR editor on an article, he requested all the images be in JPG....
That may still be the case. When I submitted photos to MR (many years ago) they were required to be original slides, not copies, and I was asked to re-shoot them with better lighting before they were accepted.When I submitted some photos, as JPGs, to RMC a few years ago, their response was very enthusiastic, but wanted them re-done in RAW format. I didn't have a camera capable of that, but was able to borrow one, and shot a whole bunch of what were probably very acceptable images. However, it then occurred to me that I didn't have much of note to show, as it's pretty-well all appeared on-line...a much simpler process, albeit less lucrative. I never bothered re-submitting the photos, and the magazine has since gone to a different publisher, with a much revised format, the focus of which would be ill-served by what I had to offer.
ROBERT PETRICK ....I'm getting into this hobby (and this branch of our hobby) with open eyes, and I do not expect miracles to happen all by themselves just because I managed to get myself a new toy..... ....I've no idea how things will shake out, but I'm approaching this adventure like I approach any other: with gusto and high fives all around. Robert
....I'm getting into this hobby (and this branch of our hobby) with open eyes, and I do not expect miracles to happen all by themselves just because I managed to get myself a new toy.....
....I've no idea how things will shake out, but I'm approaching this adventure like I approach any other: with gusto and high fives all around.
Robert, I wish you the best of luck and success in this endeavour.
In the OP I used the phrase 'Publication-quality' to describe the photos I'm hoping to create. It might not mean what it says. At my day job, we produce engineering drawings and documents and the options on the output printer have names like 'Draft Quality', 'Presentation Quality', 'Maximum Quality', etc. I used publication quality along those lines; what I meant was high-quality, but that sounds a bit high fallutin. We also use the phrase 'Camera Ready' output when preparing documents, but that would sound a bit silly when I'm talking about actual cameras. So, high-quality it is . . .
I have had articles published, and I would like to have more in the future, but that is not really the topic of this discussion thread. But it does bring up an important point: how will all these photos and electronic files containing photos be used?
I'm not exactly sure, but I think the uncompressed RAW files of the 24 megapixel photos I plan to take will be in the 45 to 50 MB range, maybe more. The JPG versions (whether coarse, medium, or fine) might be in the 10 MB range. I dunno. How will these files be transferred via e-mail or something, and how will they be posted on sites such as this MRR forum when the sticky regarding posting photos specifically says to limit files to 1 MB? And if the 'normal' 24 megapixel photos are compressed or saved to (say) 30% quality, what is the point of having 24 megapixels to start with?
I'm only just now wading into these things, and I admit I have a lot to learn, so I hope the advice keeps coming. Another topic on my mind . . . lighting.
Thanks.
ROBERT PETRICKHow will these files be transferred via e-mail or something, and how will they be posted on sites such as this MRR forum when the sticky regarding posting photos specifically says to limit files to 1 MB? And if the 'normal' 24 megapixel photos are compressed or saved to (say) 30% quality, what is the point of having 24 megapixels to start with?
It is standard practice to save the RAW files and then create a copy in whatever format or resolution is required for the application du jour. Think of film where you save the negative, then print a wallet size for your wife to carry around, a 5x7 for the grandparents to put on the mantle and a 16x20 to hang on the wall.
Perhaps the most interesting photographer that I ran across was a Frenchman, Henri Cartier-Bresson from back in the film days. He used a 35 mm Leica and a 50 mm lens for just about all of his street photography. His work is stunning. Kinda makes one humble in light of today's digicams with bells and whistles all over the place.
So who were the "great" model railroad photographers?
My mind goes to John Allen, Malcolm Furlow, and Ben King. All these guys used conventional film.
Is there a "great" model railroader photographer that stands out in the digital age? If not, that might be a good thing. That means all of us are capable of publication quality photographs now.
bearmanHe used a 35 mm Leica and a 50 mm lens for just about all of his street photography.
There is nothing humble about a 35 mm Leica and a 50 mm lens. In his day, that was the best "walking around" camera money could buy. Even today, a 50 year old used M4 will set you back more than two grand.
SeeYou190So who were the "great" model railroad photographers?
No such thing. Model railroad photography whether film or digital is purely technical. With some instruction and practice anybody can do it well.
I wish I could remember the exact quote and who said it, but the jist was "great photography is 90% about being in the right place at the right time and recognizing it when it happens".
With model railroad photography, it's always the right time and place so the 90% is done for you. All you need to do is not screw up the 10%.
carl425 bearman He used a 35 mm Leica and a 50 mm lens for just about all of his street photography. There is nothing humble about a 35 mm Leica and a 50 mm lens. In his day, that was the best "walking around" camera money could buy. Even today, a 50 year old used M4 will set you back more than two grand.
bearman
He used a 35 mm Leica and a 50 mm lens for just about all of his street photography.
carl425 SeeYou190 So who were the "great" model railroad photographers? No such thing. Model railroad photography whether film or digital is purely technical. With some instruction and practice anybody can do it well. I wish I could remember the exact quote and who said it, but the jist was "great photography is 90% about being in the right place at the right time and recognizing it when it happens". With model railroad photography, it's always the right time and place so the 90% is done for you. All you need to do is not screw up the 10%.
SeeYou190 So who were the "great" model railroad photographers?
Well dang! Now I'm depressed at taking up such a dull hobby.
I suppose I could always do this with one hand tied behind my back while standing in a hammock just to make it a challenge.
The camera arrived yesterday safe and sound. I got a pretty basic kit: camera body, 18-55 mm lens, 64 GB memory card, battery and charger, USB cable, and hand strap. Some dealers offer kits with a bunch of little accessories, but while those are nice and might be useful, they don't seem to be worth the extra $100 or so.
I downloaded the 30-day-free-trial version of Helicon Focus and Helicon Remote. Both work pretty much as expected. I was able to connect the camera to the laptop and control pretty much all the settings required. I was able to take multiple exposures at various focus distances and combine the images into a single image. The two shots I have done so far look okay (not great, but demonstrated the features as expected), but I will have to fiddle around a while to see what's what.
I also took a closeup shot of a single N scale tank car: about 12" focus distance, f13, 4.5 aperture, 1/2 second shutter speed (tripod mount, 5 second shutter release delay, ambient 5000K room lighting), ISO 200. The purpose was to see how clear and sharp and legible the micro-text printing on the car would come out. Not bad, but some more fiddling to do in that area. Some sort of special macro lens might be needed at some future date for that kind of closeup work.
The setup works while tethered directly to the laptop via USB cable, but there is also an internal WiFi device in the camera that will allow wireless roaming as well. That is particularly attractive because I'm expecting to have some awkward setups in tight spaces and dangling a cable could be a real nuissance. Plus, the supplied USB cable is short, really short! 24" short. There are longer ones available (sold separately, of course), and I'll look into those. Plus the camera connection end of the cable is tiny, really tiny! I think it's called USB Micro or USB C, or something. I worry about the stress and strain of plugging and unplugging that thing. Wireless is what I'm hoping for.
I found some more literature about model railroad photography on the MRR website and within the forum archives, plus the links that were provided earlier. Thanks to everyone involved. Making progress.
Here's a photo taken using Helicon Remote. It has six focus points (front to back). Settings as described in previous post. This is in the work room (aka spare bedroom) and not in the layout room. The ambient light in there is 2700K I think. The .JPG image was saved at 80% to keep the file size low.
All photos taken so far have been using ambient overhead room light and not the built-in flash. No reason not to use the flash, but I figure taking a lot of photos will drain the battery pretty quick. The only other lighting fixture I have is a hot-shoe flash attachment. It has a swivel and tilting 'cobra' head. In the old days I would generally point it up at a 45-degree angle and let the flash bounce off the walls and ceiling. For my latest adventure, I will check into more 'professional' lighting arrangements as my limited knowledge advances from zero to minimal.
I'll update my layout build thread with some more info regarding the subject of this photo.
Don't worry about that USB cable connection to the camera. It is pretty much standard from what I understand. What you have to be careful of, because it is so small, is forcing it in upside down.
That's a pretty impressive bridge. Plastruct and Evergreen should be offering you a lifetime discount.
If the overhead light is strong enough, there's no reason not to use it. The light-colored walls are giving a nice bounce fill effect. White foamcore panels make nice reflectors for directing light to even out shadows. If you can avoid mixing lights of different color temperatures, you can rely on the camera's auto-balance and auto-correction capabilities.