Minolta Converter for MC Macro 50mm f3.5 1:2-1:1 Extension Tube Vintage mjb. Minolta SR Camera Lens Extension Tube Set 4 Piece (1 Missing). Optics MINT MINOLTA AF 1.4x TELE CONVERTER APO Sony Alpha A mount from JAPAN.Comparing the Sigma with the Minolta 100mm is a bit like comparing the Minolta 2.8 and 3.5 50mms - a lighter 1:2 macro vs a considerably more substantive 1:1.From there, I have a Minolta brand set of bellows, focus rail, and slide copier attachment. My basic setup is a Fuji X-t1 equipped with a shutter release cable, Minolta 50mm macro lens, 1:1 extension tube and a Metabones adapter that has a lens mount(important to have it because it centers the lens)The lens would obviously be better with integral 1:1, but its not that much of an issue (easy for me to say since I have the 1:1 Minolta macros). &163 62.62.Find many great new & used options and get the best deals for Curriculum at Your Core by Lauren Porosoff (2014 Hardcover) at the best online prices at I figured I would go ahead and post this as an experiment in progress.
Minolta Converter Ro 50Mm F3.5 1:2-1:1 Extension Tube Free Shipping ForIn addition to impressive macro shots, this lens also offers outstanding optical performance for general photography, making it a very versatile choice.4.2 out of 5 stars 5,293 1 offer from 39.99 52MM 0.35x Altura Photo HD Fisheye Nikon Wide Angle Lens (w/Macro Portion) for DSLR Cameras D7100 D7000 D5500 D5300 D5200 D5100 D3500 D3400 D3300 D3200 D3100 D3000 - Wide Angle Lens Nikon MountBeyond the camera, and focus rail, there is a light-box that supplies a 5000k light source, and a off camera flash hooked up to the PC terminal on my camera(I'm going to change it to a TTL cord later because the cord I am using has been showing signs of corrosion on the contacts). With a minimum focusing distance of just 20cm and up to 1:1 magnification, this lens can open up a world of creative possibilities. Because my slide copier has a bellows that attaches to the lens I don't have to work in a darkroom.Find many great new & used options and get the best deals for Minolta MD 1:1 Extension Tube for the MD 50mm f3.5 Macro + Tube No1,2,3 19998 at the best online prices at eBay Free shipping for many products50mm F2.8 Macro Lens. So instead I use only the focus rail with slide copier attached. I set the white balance to 5000k so it matches the light-box, and then I attached a 80a color correction filter to the macro lens. Now I have made some progress.Seeing how setting my camera's white balance to the lowest possible Kelvin could compensate for the orange, I decided to try something else use a blue color correction filter. Then I tried setting the white balance to the lowest Kelvin possible. Otherwise, I figured I'd shoot in RAW, and figure out how to tweak WB in post. I also planned to try the camera calibration of white point using undeveloped film approach, at least as one option. On the opposite side will be a flash (Yongnuo 560 III, operated by rf remote) shining through a diffuser plate where the negative will be mounted.Using a zoom lens means I don't have to build in any rails, and I can easily turn this platform into a box with lid if I get tired of turning out the lights.I'm especially interested in (troubled by) your experience with the white balance, though. My plan is to make a platform to hold the camera (Sony a6000) and lens (telephoto zoom with macro adapter - at ~6" I can fill the frame). I've been looking into doing this myself, and had planned nearly the same approach. Color temperature just describes a line on the CIE color chart that corresponds to black body radiation. Maybe GIMP doesn't have the latitude needed to make such a large adjustment to WB(?).My understanding of WB adjustment is that color temperature is only a part of it. For tweaking WB on a RAW photo, I'd used Sony's free software. Under Options, enable "Snap Neutral Midtones". If not, change it in Image Mode.Go to Curves. But there are some problem negatives that occasionally show up.Attached is a picture of my current set upAssuming you have Photoshop (an old version will do).First check that your image is 16 bits per channel. But I'm not big into PP, and don't have any decent software (LR, etc.).On my X-T1 I can set the WB to a custom color temperature, So the higher Kelvin's have a reddish color to balance out "blueish" lighting and the lower Kelvins use a blueish color to balance out the orange/reddish light.Also for any custom WB temperature I pick on my camera I can fine tune the setting such that I can move the WB towards cyan,blue,red or yellow depending on my preferences.My software right now is the Raw File Converter that came packaged with my camera, it has a useful histogram that tells me the balance of red,blue and green.I have had some limited success using the lowest possible kelvin setting and pushing the blue tint up to the maximum on the WB setting. Otherwise, I figured I'd shoot in RAW, and figure out how to tweak WB in post. It looks like on the histogram that the balance of red blue and green are at different "phases" horizontally they don't line up.After a couple of shots with different settings I went with the one with a histogram that looked the most centered of all three colors. Very likely a slight touch of red is all you need.That method is producing interesting results.I took a couple of shots of the same negative with different white balance adjustments in-camera. Then you can adjust the colour balance to taste by using the middle slider for red, green or blue separately. Use the middle slider to darken the image if necessary. This is the most consistent method I've found.This was the general method I was hoping to use, and tried it for the first time over the weekend. Then the moment you pull your RAW files into your workflow and invert the image, the filmstrip around the frame should be black (since it was white to begin with), and the image should at least resemble the original.Then you can adjust saturation/contrast to taste. Then you shoot your frames on that particular brand of film (since the mask is unique to the brand). This lets the camera do as much of the mask removal as possible. I find that even after colour correction, you may still need to adjust the curves and levels, since the final image is always a little low contrast.My first step is to shoot the orange mask of the negative first as WHITE in the custom white balance. Rmvb player for mac freeArea in between frames).RAW import, and using camera's (wrong) WB setting. I kept thinking I should use an area that would come out white in the print, but finally concluded that I need to use an area that would come out black (i.e. It took me a little while to convince myself what part of the negative I should use to do my white balancing.
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