Epistylis, rotifer, and diatoms on alga

[Charles Krebs]

I scraped a small clump of very "fine" alga from submerged piece of wood in a nearby lake, thinking it might yield some interesting pattern shots of the alga. But as often happens, once the subject was examined under the microscope other details became of more interest. In this case it was the epistylis, rotifer and diatoms that made the fine filaments their "home base".

Olympus BHS, 60/1.40 S Plan Apo, 1.67 NFK photoeyepiece, DIC illumination, Canon DSLR, Electronic flash.


Olympus BHS, 40/0.95 S Plan Apo, 1.67 NFK photoeyepiece, DIC illumination, Canon DSLR, Electronic flash.


Olympus BHS, 20/0.70 S Plan Apo, 1.67 NFK photoeyepiece, DIC illumination, Canon DSLR, Electronic flash.


Olympus BHS, 60/1.40 S Plan Apo, 1.67 NFK photoeyepiece, DIC illumination, Canon DSLR, Electronic flash.


Olympus BHS, 40/0.95 S Plan Apo, 1.67 NFK photoeyepiece, DIC illumination, Canon DSLR, Electronic flash.

[fpelectronica]

Very good pictures Charles
Magnificent photograph 1 and 2
Francisco

[Cactusdave]

Wonderful images. Can I ask, when you use the magnificent 60/1.40 S Plan Apo objective, whether you use a temporary ring seal of nail varnish or similar to prevent the viscous immersion oil 'dragging' the coverslip around?

[Charles Krebs]

Thanks!

Dave... I know exactly what you are asking! The answer is no, but in some instances it would probably help.

A few thoughts. Typically I start a wet mount with a little too much "water" in it. Next comes scouting and finding potential subjects, often taking some shots with lower power objectives. I generally try to avoid using the oil immersion objectives until some water has evaporated and the cover has settled a little, often contacting the higher parts of whatever subject material is on the slide. This provides a little more stability, but the cover can still "slide". So I rarely "swing" the oil objectives into place by rotating the nosepiece. Instead the stage is lowered, the desired objective put into position, and then the stage is "raised" while looking in from the side until there is a little "flash" of light when the tip of the objectives makes contact with the oil. Once "contact" has been made all stage motions are done more slowly. This approach require a little more caution so as not to crash into the slide. It also has the potential to trap air bubbles so more care is needed to avoid them. (That's not really been a big problem for me. Generally it can occur when first starting to use objective and a slight back and forth "swing" of the objective clears them out. Once there is a small bubble-free drop of oil on the objective tip it rarely occurs during the rest of the "session").

[Mitch640]

Amazing images Charles. The first image is clearly the winner here for me. Fascinating find.

I was under the impression oil was used on a dry, fixed slide? I guess I was wrong on that one. Good to know, and to have the technique explained is great.

[Craig Gerard]

Charlie,

Image #5 is especially gorgeous.

Your detailed response to Dave's question has provided welcome insight.

Craig