Need some advice regarding the following:
If I was to take a strobe (with modelling light and variable power control) and couple that with a dual or triple fiber optic light guide via a 'snoot' or some other device - it would work???
Just wondering what other factors would need to be considered:
colour temp
power range
The initial intended use is with that 'gizmo' in the post here
I'm not a theoretical physicist.
Has this been discussed before?
Craig
Fiber optic flash
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augusthouse
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rjlittlefield
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Craig, I do not recall this being discussed before.
Your problem will be how to get efficient coupling of light from the flash into the fiber.
Standard halogen fiber illuminators accomplish this by using a special bulb with a short-focus reflector that concentrates most of the bulb's output into a small circle that matches the fiber diameter.
A simple 'snoot' will lose lots of light, but it might work OK if you have much more than you need to start with.
Otherwise, all that comes to mind is to add some lenses to form a condenser system that images the flash tube onto the fiber end.
But these thoughts are off the top of my head -- I have never worked this problem before. Perhaps someone else knows a more clever approach.
--Rik
Your problem will be how to get efficient coupling of light from the flash into the fiber.
Standard halogen fiber illuminators accomplish this by using a special bulb with a short-focus reflector that concentrates most of the bulb's output into a small circle that matches the fiber diameter.
A simple 'snoot' will lose lots of light, but it might work OK if you have much more than you need to start with.
Otherwise, all that comes to mind is to add some lenses to form a condenser system that images the flash tube onto the fiber end.
But these thoughts are off the top of my head -- I have never worked this problem before. Perhaps someone else knows a more clever approach.
--Rik
Hi Craig,
You can get standard fiber optic illuminators for photography with a window in the top that allows you to mount your camera flash unit on them and if connected by a dedicated cord presumbably controlled by the cameras TTL flash control.
http://www.adorama.com/NVCLS.html
http://www.speedgraphic.co.uk/prod.asp? ... ght+Source
DaveW
You can get standard fiber optic illuminators for photography with a window in the top that allows you to mount your camera flash unit on them and if connected by a dedicated cord presumbably controlled by the cameras TTL flash control.
http://www.adorama.com/NVCLS.html
http://www.speedgraphic.co.uk/prod.asp? ... ght+Source
DaveW
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Planapo
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- Location: Germany, in the United States of Europe
Schott Flashport 17.50.02
P/N 300 100
"Flashport System
■ The Flashport converts commercially available flash units with TTL function
into an effective flash illumination for stereo-microscopy and macroscopy
■ For documentation purposes of fast moving or specimen with
weak reflection
■ Can be used for incident and transmitted light applications
■ Standard color filters and GFP fluorescence filters can be used for
effect illumination
■ High flash intensity
■ Color temperature of approximately 5500 K allows use of daylight films
The Flashport system consists of the following components:
■ Cold light source SCHOTT KL 1500 e, KL 1500 LCD, KL 2500 LCD;
also ACE® or DCR® III light sources can be used.
The cold light source works as a pilot illumination during set-up.
■ Combi lightguide “Flash”: two branch light guide, which connects
Flashport, cold lights source and illumination light guide
■ Illumination light guide to illuminate the target area with the desired
illumination technique (ringlight, linelight, gooseneck et al.). Both, light
from the pilot cold light source as well as the Flash light is transmitted to
the target area.
In addition the Flashport requires the following commercially available
components from appropriate vendors:
■ Microscope and camera equipment with TTL function and SCA adapter
■ Mecablitz 54 MZ 3 or 44 MZ 2 from the company Metz
(worldwide availability)
■ Connection cable SCA-adapter/flash and synchronous cable
■ Manufactured in the EU."
P/N 300 100
"Flashport System
■ The Flashport converts commercially available flash units with TTL function
into an effective flash illumination for stereo-microscopy and macroscopy
■ For documentation purposes of fast moving or specimen with
weak reflection
■ Can be used for incident and transmitted light applications
■ Standard color filters and GFP fluorescence filters can be used for
effect illumination
■ High flash intensity
■ Color temperature of approximately 5500 K allows use of daylight films
The Flashport system consists of the following components:
■ Cold light source SCHOTT KL 1500 e, KL 1500 LCD, KL 2500 LCD;
also ACE® or DCR® III light sources can be used.
The cold light source works as a pilot illumination during set-up.
■ Combi lightguide “Flash”: two branch light guide, which connects
Flashport, cold lights source and illumination light guide
■ Illumination light guide to illuminate the target area with the desired
illumination technique (ringlight, linelight, gooseneck et al.). Both, light
from the pilot cold light source as well as the Flash light is transmitted to
the target area.
In addition the Flashport requires the following commercially available
components from appropriate vendors:
■ Microscope and camera equipment with TTL function and SCA adapter
■ Mecablitz 54 MZ 3 or 44 MZ 2 from the company Metz
(worldwide availability)
■ Connection cable SCA-adapter/flash and synchronous cable
■ Manufactured in the EU."
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gpmatthews
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Ok Ken -
I have two systems currently in use. Both use the inbuilt flash on the camera. Both use fibre optics but neither use any special method of focussing the flash on the end of the fibre optic cables. There is usually plenty of flash to spare, so a bit of inefficiency doesn't seem to matter.
My "Mark 2" flash system uses a fibre optic link from the camera to a 45 degree coverslip:
The Mk 3 system uses a "Y" fibre optic, with one leg to the lamp and the other to the same flash port used in the Mk 2 system. The lamp is set up to give a spot of light that matches the size of the fibre otpic termination, but again there is no special means of focussing the flash onto the other fibre optic feed. The combined single end feeds into the lamp port at the rear of the microscope. (In case you're curious, Mk 1 was just a plain microscope slide used as a reflector).
The camera in this setup is a Canon Powershot S50. This has three levels of flash intensity available, varied by means of flash duration. Unfortunately Canon were unable to tell me the duration at each setting, and I have not got round to measuring this as yet.
I have two systems currently in use. Both use the inbuilt flash on the camera. Both use fibre optics but neither use any special method of focussing the flash on the end of the fibre optic cables. There is usually plenty of flash to spare, so a bit of inefficiency doesn't seem to matter.
My "Mark 2" flash system uses a fibre optic link from the camera to a 45 degree coverslip:
The Mk 3 system uses a "Y" fibre optic, with one leg to the lamp and the other to the same flash port used in the Mk 2 system. The lamp is set up to give a spot of light that matches the size of the fibre otpic termination, but again there is no special means of focussing the flash onto the other fibre optic feed. The combined single end feeds into the lamp port at the rear of the microscope. (In case you're curious, Mk 1 was just a plain microscope slide used as a reflector).
The camera in this setup is a Canon Powershot S50. This has three levels of flash intensity available, varied by means of flash duration. Unfortunately Canon were unable to tell me the duration at each setting, and I have not got round to measuring this as yet.
Graham
Though we lean upon the same balustrade, the colours of the mountain are different.
Though we lean upon the same balustrade, the colours of the mountain are different.
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augusthouse
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Just uploading some photos of the units mentioned in the previous posts.
Graham, does the fiber optic cable used in your "Mark2" have any particular 'specs' or did you just use a garden variety fiber optic cable?
Here's the Novoflex that Dave W mentioned.
Here's the FlashPort that Betty was referring to:
Here are a few offerings from Visionary Digital:
FX2 Lighting System
SolMate (patent pending) Variable numerical aperture trans-illuminator
Tri-Light (patent pending)
Some Visionary Digital Diffusers:
A quote below from a Charlie Krebs post here
The 'modeling light' and variable power are important aspects - I believe.
How can I have the "second shutter curtain" flash sync on a Nikon D100 in M mode - "Rear Curtain Sync" ?? (*Later edit -yep)
Craig
Graham, does the fiber optic cable used in your "Mark2" have any particular 'specs' or did you just use a garden variety fiber optic cable?
Here's the Novoflex that Dave W mentioned.
Here's the FlashPort that Betty was referring to:
Here are a few offerings from Visionary Digital:
FX2 Lighting System
SolMate (patent pending) Variable numerical aperture trans-illuminator
Tri-Light (patent pending)
Some Visionary Digital Diffusers:
A quote below from a Charlie Krebs post here
If I am using electronic flash for the exposure (as was the case with these aphid shots) I work as follows:
Camera shutter is manually set to one second. Prior to taking the pictures, the ambient light (continuous) is lowered so that no image (or at least a hardly
perceptible) image is registered at the 1 second exposure time. The camera flash sync is set to “second shutter curtain”. Mirror lock-up is used, and the flash
units are turned on and used at manual settings. When used this way you can be assured of really vibration free results. The mirror is first pre-released. After
a pause, the one second exposure begins. By the time the flash fires at the end of the one second exposure everything is dead calm. (This may actually be
vibration-reduction “overkill”, but it is easy to do and extremely effective). Since I want the flash units to be fully recharged before the next shot, the time
delay between shots works out nicely. (When you use flash to shoot a “stack” you should use a manual flash mode and allow enough time for the flash to
recycle to be sure you are getting the same exposure with each frame).
The 'modeling light' and variable power are important aspects - I believe.
How can I have the "second shutter curtain" flash sync on a Nikon D100 in M mode - "Rear Curtain Sync" ?? (*Later edit -yep)
Craig
Last edited by augusthouse on Fri Nov 23, 2007 10:52 pm, edited 5 times in total.
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gpmatthews
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The single fibre optic came form a US on-line surplus dealer (C & H Sales Co. - but the link I have does not appear to work at present). The "Y" cable was bought on E-Bay and was from a Zeiss Opmi surgical instrument, I believe.
Graham
Though we lean upon the same balustrade, the colours of the mountain are different.
Though we lean upon the same balustrade, the colours of the mountain are different.
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augusthouse
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- Joined: Sat Sep 16, 2006 1:39 am
- Location: New South Wales Australia
I've been experimenting with this approach and want to take it a step further. The results are encouraging.
I've been using a generic flash with a modified 'makeshift' adapter for the FO cables - works as you would expect it to. One flash unit with 3-5 FO cables, all of which can be positioned independantly - a desirable feature.
I'm still trying to decide between an affordable studio strobe or a better flash unit?? (*later note - decided to go with the SB-28 and an SC-17 sync cord). I'll use my halogen FO illuminator for modeling.
The Nikon SB-28 seems like a good way to go:
7 flash output levels from full to 1/64th power (+/- 1/3 steps) in Manual mode.
One concern was the need to have some control over the intensity/duration of the flash output without stopping down the aperture, which is not an option given the intended use, as we all know most lenses perform better wide open in this application.
Craig
I've been using a generic flash with a modified 'makeshift' adapter for the FO cables - works as you would expect it to. One flash unit with 3-5 FO cables, all of which can be positioned independantly - a desirable feature.
I'm still trying to decide between an affordable studio strobe or a better flash unit?? (*later note - decided to go with the SB-28 and an SC-17 sync cord). I'll use my halogen FO illuminator for modeling.
The Nikon SB-28 seems like a good way to go:
7 flash output levels from full to 1/64th power (+/- 1/3 steps) in Manual mode.
One concern was the need to have some control over the intensity/duration of the flash output without stopping down the aperture, which is not an option given the intended use, as we all know most lenses perform better wide open in this application.
Craig
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augusthouse
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- Joined: Sat Sep 16, 2006 1:39 am
- Location: New South Wales Australia
Wein Safe-Sync
I'm still pursuing this approach for a number of logical reasons and it's working. The SB-28 has a sufficient range of variable intensity to suit the task under discussion.
I've been using the Nikon SB-28 on the D100 via an Nikon SC-17 extension cord and FO light guides with a basic adapter that sits over the front of the flash unit and have also just started making a prototype box thingo out of 5mm foamcore that holds a condenser.
Just managed to pick these up on eBay. Should be perfect.
I was glad I read one of Charlie's articles before I began playing around with generic strobes, etc.
Wein Safe-Sync.
Thought this item should be mentioned here for anyone else who reads this thread and doesn't know what a 'safe-sync' is. I only discovered its importance today.
Charlie's article is on his website. If you haven't read it, do so, it's priceless.
http://www.krebsmicro.com/microsetup2/index.html
Craig
I've been using the Nikon SB-28 on the D100 via an Nikon SC-17 extension cord and FO light guides with a basic adapter that sits over the front of the flash unit and have also just started making a prototype box thingo out of 5mm foamcore that holds a condenser.
Just managed to pick these up on eBay. Should be perfect.
I was glad I read one of Charlie's articles before I began playing around with generic strobes, etc.
Wein Safe-Sync.
Thought this item should be mentioned here for anyone else who reads this thread and doesn't know what a 'safe-sync' is. I only discovered its importance today.
Charlie's article is on his website. If you haven't read it, do so, it's priceless.
http://www.krebsmicro.com/microsetup2/index.html
Craig
I just ran across this DIY ringlight using fiber optics: http://fuzzcraft.fuzzphoto.eu/ringlight4-0.html
Is there a good way to determine the best type of fiber optic cable to use for this?
Is there a good way to determine the best type of fiber optic cable to use for this?