Kyle Clements
Northern Lights Above the French River
updated
The first few minutes are general notes about the lens, the rest of the video is sample footage of me walking around, making note of camera settings and light conditions for later use. (This works better for me than writing it down.)
Overall: This is not a bad lens, but it is a one-trick-pony.
It is good for shooting central objects that are close by, maybe 0.5 - 3 metres away or so.
It is not good for edge sharpness or shooting distant objects.
The Nikon Z5 and Z6 have focus peaking that generally works very well, but for distant objects, it's difficult to get enough sharpness or contrast out of this lens to trigger the peaking into showing itself. At the highest sensitivity level, the peaking goes too far and shows soft edges as being in-focus.
There is a strong green/magenta cast to high contrast out-of-focus areas, and it seems stronger when those areas are far away.
This might sound like a long list of cons, but it's a $200 USD lens, that's about $250 CAD, for something that goes to f/0.95. I wasn't expecting it to be a noct competitor. The 35mm is small and light, the noct is big and heavy.
If you are a fan of lens flare, this lens has quite a bit, and it's very different looking from any of my other lenses.
Despite being a DX format lens, it almost covers a full frame sensor, so it's great for square format shooting or full frame video, but for best image quality, shooting in crop mode makes a big difference.
Some really weird stuff starts happening right outside of the edges of the DX image circle, with a 'ring of sharpness' running around the edges,
Shooting wide open with the camera set to mostly automatic, I need to set the exposure compensation between -2 ev or -3 ev to have the camera match the way my eye perceives the scene.
In low light situations, the camera is able to see far more colour than the human eye, so I always enjoy the surprize of shooting with high ISO bodies and ultra fast lenses and seeing the night in a whole new way.
When I go on camping or backpacking trips, my usual setup now includes my 24-200 /4-6.3 and my 35mm /0.95, one lens covers all my daytime shooting, the other covers nighttime, and neither is too large or too heavy.
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Despite being a DX format lens, it *almost* covers a full frame sensor, and the 16:9 format crops off enough of the edges that you can get full coverage, if you don't mind some terrible edge sharpness and heavy vignettes.
One big weakness with this lens is how it renders highlights. All detail is blown out and lost in the bloom. I'm not entirely sure if the gain in dynamic range from dropping the ISO is worth the loss of highlight detail for shots with prominent lights directly in the frame vs. shooting with a /1.8 lens. But the mids and shadows definitely look better.
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The rest is just footage of High Park in 950nm infrared.
Last time I tested my 950nm infrared filter was in late fall, and it was fairly late in the day when the sun is low in the sky. I had rather poor results, with the range of light from brightest bright to darkest dark taking up only a thin sliver of the histogram. Imagine an image only going from 75%-50% grey.
I wanted to test it again closer to June 21st, and closer to noon, when the sun is highest in the sky and the daylight is the brightest.
This time around, the filter performed much better. My blacks still look lifted, but the range of tones is much wider now, going from about 90% grey to white.
There is some brightness and loss of contrast towards the center of the frame with the 14-30mm/4 S lens at f/5.6 and smaller apertures. This isn't noticeable on the video from the Nikon Z5, as the 1.7X crop factor cutes off the edges, the result is an entire image that just looks a bit soft.
I used a custom white balance setting for the video, and this is straight out of the camera, no curves correction or saturation adjustments.
Background noise composed by me in FL Studio 11. Glorious 8-bit chip tune patterns!
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I filmed it in 5X slow mo. Watching the footage playback in real time just doesn't match the experience of watching the petals fall in-person.
Shot vertically on a Nikon Z6 with the 105mm/2.8 S Macro.
Background noise composed by me in FL Studio 11, based on a composition used in a previous video.
Video wallpaper.
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The streetlights and full spectrum sensor react in interesting ways, making some of the leaves look a dull purple, while others are a bright vibrant green.
I stood outside with my screens off, enjoying the park and letting my eyes adjust to the dark for about 20 minutes. The camera could see better than my eyes.
In very dark situations, like towards the end when I was inside the forest and the entire area was low contrast, the Z5 mistook the sensor noise for "high contrast therefore in-focus" areas, and it just covered the entire frame in the focus peaking indicator colour. But as the results show, the camera was still able to capture an image though all that noise.
The lens shows stronger lens flare in full spectrum than in visible light, but it also shows a lot of flare in visible light.
This lens shows no signs of hotspots or discolouration or loss of contrast in the centre.
It's not shown or mentioned in the video, but with a 720nm filter attached, it is an excellent infrared performer wide open. I didn't test it stopped down, because why would anyone use this lens for anything other than extreme apertures? For everything else, there's better options out there.
This video wasn't sponsored by either the camera maker or the lens maker; I paid for both with my own money. Although I did wait for both to go on sale before buying. I don't pay full price. I'm not made of money.
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And I'm behind schedule!
After 3 months of caring for an ailing pet, it is now time to move on.
The first step is taking care of all the little tasks I've been letting slip. Hopefully this change can help me kick my productivity into high gear.
This video is dedicated to Merek the Hedgehog.
I miss you, little buddy.
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Some notes:
The relationship between stacked images and the noise reduction effect seems to be squared, not doublings, so you must combine:
Four images for a one stop ISO improvement, not two.
Eight images for a two stop improvement.
16 images for a three stop improvement.
I've been using Affinity Photo 2 to do my image stacking, but I imagine there are other free and open source programs out there as well.
Happy shooting!
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Then my elastic band started played Vampire Survivors.
How can a game so simple be so addictive? What kind of game is this anyway? A rogue-lite? Reverse bullet hell? Either way, it hits all the right nostalgia points for me, and I think it feels best when played on a SNES-style controller.
I've dumped about 1000 golden eggs into Trouser, and I'm using him as a gold farmer in The Bone Zone. This was before I had unlocked Sammy, a new character who seems designed for gold farming.
If you need to do a gold run, but you don't have the gold to burn to dump 1000 eggs into a character just yet, you can achieve similar results with Queen Sigma, who has no eggs. I left the game running overnight and came back with about 25 million.
Shot on a Z6 with a 105mm/2.8.
Background noise by Kyle, created in FL Studio 11.
Game running on an 11th gen i5 Framework laptop.
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This area is a communal garden located inside Toronto's High Park, and the wild rabbits seem very used to people being around. I was able to set surprisingly close with my 105mm /2.8 lens.
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People must be feeding these birds even though they shouldn't be. They wouldn't get close to me, but they were quick to run to an area I had just been, seemingly looking for dropped snacks.
Shot with the Nikon Z6 and 105mm /2.8 S Macro.
Sorry about the awful shutter speeds, I didn't have an ND and blurry backgrounds are more important than pleasing motion.
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I was also thinking about how weird electronic digital stabilization applied in post can look.
This got me thinking: How can I use the two together to maximum effect?
I had the idea to go for a walk through the park. I would start with a slow pace, holding the camera nice and steady and increasing my speed throughout the walk so by the end I would be in full powerwalk mode.
The mix of low-light noise, hot pixels, and distant moving lights can mess with the stabilization when things get rough, causing the image to jump erratically.
To cover up the wonderful sound of my congested breathing, I thought I would go with something very shoegazy with loads of overdrive.
I was thinking about how pitch correction software mirrors stabilization software in how it can take some of the sloppiness out of real life and enforce some corrections, but these corrections can also be affected and confused by the harmonics introduced by loads of overdrive which will cause the pitch to jump and snap around in stark, abrupt ways - especially if you enforce a new key.
Recorded on a Full spectrum converted Nikon Z5 with a 7Artisans 7.5mm /2.8 Fisheye lens.
The Z5 introduces a 1.7X crop in 4K video, and the video stabilization effect introduced another 20-30% crop of the image.
Saturation was increased by about 70%, and I gave a slight lift to the gamma.
Background noise created in FLStudio 11, making ample use of Izotope Trash 2.
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And it looks like there is going to be another controlled burn in this spring! The adventure starts again!
Many of the plants in Toronto's high Park need fire as part of their lifecycle, and it also burns away invasive plants, so this can really help the local flora.
Shot on a Nikon Z5 (Full spectrum converted)
50mm /1.8 S lens with 720nm Infrared filter.
Background soundscape created by me in FL Studio 11.
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His reaction was so strong I just had to get him some sand.
I wasn't sure what to use, so I purchased some "play sand", then microwaved it to kill any potential bugs that might be in there. I let it cool overnight, then put it in my hedgie's running wheel box.
If you are using construction grade sand, be careful. Make sure it is washed and coarse grained and not dusty. It should look like coarse sugar, not fine flour. Silica dust is very bad your lungs, and even worse for a hedgie's.
This was his reaction to his sand encounter.
Part one is available here: youtu.be/NX5jMxACtnM
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His reaction was so strong I just had to get him some sand.
I wasn't sure what to use, so I purchased some "play sand", then microwaved it to kill any potential bugs that might be in there. I let it cool overnight, then put it in my hedgie's running wheel box.
This was his reaction to his sand encounter.
Will there be a part 2, or is this title just an attempt to build anticip...
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I don't like him being under there, but I'm tired of picking up the whole couch every night to get him out.
Can I lure my little buddy out from under there though the power of snacks? Can I encourage him to leave by blasting light under the couch?
Filmed on a Nikon Z6, 50mm/1.8 S.
Aperture MC used as under couch light source.
The snacks are just his regular food, lightly crushed to release some fresher aromas into the air, and placed in a different bowl.
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Sometimes I worry he might be getting bored without a change of scenery, so I let him run free in my living room. He usually ends up finding his wheel on the floor and running on it anyway.
You have the entire room little buddy. Roam free!
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I'm trying to find a way to make my kit as versatile as possible.
I have a bunch of different lenses with different sized filter threads. But I don't want to buy a set of dedicated filters for every lens. I'd rather buy just one set of filters for the biggest sized filter thread I have, then use step up rings to make them fit on all my other lenses.
My 24-200mm/4-6.3 has terrible IR performance, so I got a 67mm hot mirror filter just for it. That makes sense to me, as the superzoom covers such a wide range, I can use it for any visible light photography I need.
Step up rings can cost $15-$20 each to buy locally, so I thought it was a smart idea to just buy a set of nearly every sized stepper ring from aliexpress.
Of course, it didn't include the one size I needed...
If you are interested in Infrared photography, and you shoot Nikon, I find this website maintains a reliable list of lenses and their IR performance:
http://luminescentphoto.com/blog/nikon-z-infrared-lens-performance-chart
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I opted for a full spectrum conversion over an infrared because I want versatility; I want to be able to choose any filter for any lens. I bought a set of 82mm filters which I can use on any of my lenses thanks to stepper rings.
But these filters are big. How do I store them? How do I transport them? How do I protect them?
In this video, I go through a few different options that I've tried out and describe what works for me and what doesn't.
Note: All of these items were purchased by me. Sometimes even at full price, although I do try to wait for a good sale where I can.
If you've found a good solution for carrying filters, please let me know.
Thanks.
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But how do I deal with the front of my camera when I have a filter on? Lens caps pop off. A popped cap can slide around and scratch. Should I take a walk on the wild side and go cap less? Will silicone "once size fits all" caps work? (no.) How about the cheapest 82mm cap I can find online with next day delivery? Yeah...that actually works!
Note: None of this is sponsored, I bought all this myself. Sometimes at full price, although I usually wait for a sale or favourable exchange rates.
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I've also bee going through a lot of old photos and videos lately, reliving some memories and rediscovering old ideas I never fully developed. It got me thinking about why I do all this vlogging stuff in the first place.
I took my full spectrum converted Nikon Z5 out to Toronto's High Park during blue hour to record some footage of me rambling on about this kinda stuff.
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I used a modified version of the background noise from the "Rubber Duckies" video to cover up the sounds of my friend's snacking while this was being recorded. Composed by me in FL Studio 11 in 2023.
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After years of being frustrated with manual techniques and open source focus stacking software, I finally bit the bullet and purchased some software to do the photo stacking for me.
But before I start using this lens and this software for any serious macro work, I want to push it too far to see what doesn't work.
I have a number of questions about this macro setup and how it would all work. Is handheld photo stacking possible? Do the small movements of a live creature ruin the shots, or is it more forgiving than I expect? Is indoor lighting enough for an acceptable shot? Will ISO noise throw things off?
I noticed a spider crawling on my camera bag, so I grabbed my Nikon Z6 and my Nikkor Z MC 105mm f/2.8 VR S, and I took a stack of 300 shots, then loaded those photos into Affinity Photo 2 through it's "focus stack" import option, and these are the results.
Other than cropping, no edits were made in post, what you see is purely the results of the software's auto stacking. There are a number of areas that would require touching up if I wanted to make a serious photo for print, but I am still pretty impressed by these results.
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I tested the adapter on both my Nikon Z5 and Z6 cameras, shooting in visible light as well as full spectrum and 680nm and 720nm.
Lenses used were the Nikon 50mm 1.8D, 85mm 1.8D, and the Tokina 28-80mm /2.8 AT-X Pro.
Lenses were kept wide open. Adapter was set to maximum downward tilt.
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I brought over my fancy new 105mm/2.8 S Macro lens to capture her up close. I can see more detail on Mrs. Bug in this footage than I could see in person. Cool!
Whiptail scorpions can not sting; instead they shoot acid at their prey or an aggressor. For an insect covered in a hard shell this acid is deadly. For a human it's mostly just an irritant, but make sure not to let your face get to close, just in case.
I hope I get a chance to visit and film Mrs. Bug again. Next time, I'll use a tripod. Handheld macro is tricky.
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I decided to create an audio component to accompany the visuals. I wanted something that sounded geometric and stable throughout, but like the patterns of light and dancing shadows, I also wanted a bit of constant change throughout. The melody loops out-of-phase with itself as arpeggios play off the main notes, and what passes for the lead is buried by all the rest of it.
Visuals: Nikon Z6, 105mm /2.8 S, Aperture MC x 2
Sounds: FL Studio 11
(c) 2023 Kyle Clements
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I went for a walk around the island, collecting firewood and doing all that camping stuff for a while. It was dinner time. I was back at camp trying to set up my camp stove when I saw Mamma bird soar in, and I realized she was a Bald Eagle!
Needles to say, I was very happy I had opted to take my 105mm/2.8 instead of the 14-30mm/4 for this trip.
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I used my 105mm/2.8 S macro lens to try to grab some quick footage, but these things are very shy and don't seem to like light, or movement. It took a while, but I finally found one lovely little ducky willing to pose for me for a moment!
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A contact print is a method of printing photos in a darkroom without an enlarger. The object is placed directly onto the photo paper, then the paper is exposed to light.
In this case, sunlight must have an effect on the pigmentation in the changing autumn colours. One leaf was on top of the other. This allowed for the creation of a sharp edge along where one leaf blocked the light falling on the leaf below it. A natural contact print on a leaf. Neat!
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I've already learned that the common advice about 850 and 950 filters requiring a tripod is wrong, and the warning that IR video is impractical is also wrong. Handheld IR shooting is no problem at all on a modern converted camera, imaging sensors are more than capable of capturing enough light for good-looking video.
How about the advice that IR photography needs bright full sunlight to be effective? Lets see what a cloudy overcast day vs. a bright sunny day looks like.
I went to the park, and conducted some crude and completely non-scientific tests recording some video with each of my IR filters.
Shutter was locked at 1/50, it just makes sense for video.
Aperture was set to something that made sense for the exposure I needed,
and ISO was left to float on auto.
I used exposure compensation to avoid blown highlights and too many shadows, aiming to have the hump as close to center as possible.
Full spectrum really makes the fall colours look flat and washed out. On an overcast day it takes 3 1/3 to 3 2/3 stops more light to get your exposure, and the end result is a blown out sky that makes it look like it was shot on a cell phone. Shooting in sunlight gives me an image wash washed out foliage, but an almost cartoonishly bright blue sky.
680nm is where I've seen the biggest difference between different lighting conditions. On an overcast day, It takes 3 stops more light, and it creates a dream-like pink sky with cool, greenish-white foliage. Bright sunlight creates an almost alien-looking red sky with foliage with some slight variation in colour. This was the only setting where my Z5 couldn't create a custom white balance setting, so I use the 'full spectrum' setting, since it gives the coolest looking result.
720nm is what I think of as the standard IR look. Both overcast and sunny have a similar overall look, but overcast feels more soft, surreal and dream-like, while sunny looks like classic contrasty punchy IR. It takes 2 stops more light on an overcast day. With this setting, the sky takes on a warm brownish tone, and the foliage takes on a cool blueish tone. You can swap these channels for a more natural look if you want.
850nm leaves no colour in the image, it's all black and white here. Exposure was the same for both overcast and sunny, but overcast looks flat and washed out, sunny gives me that bold dark sky.
950nm has me back to needing 3 stops more light to get an exposure on an overcast day. This filter gives me shots with very little contrast. I think I might have to limit this filter to high noon on the sunniest of days. I'm not getting much with this.
Some observations:
Taking full spectrum as the baseline, shooting 680 needed about 1/2 stop more light.
720 needed about 1 stop more light, and 850 needed 2 more stops than full spectrum.
950 needed 7 stops more light.
The histogram drawn on my camera viewfinder while I'm shooting is quite different from the one in my video editor as I'm editing.
In camera, shooting full spectrum looks like a bug U shape, with tons of blown highlights and buried shadows and not much in the middle. As I go deeper into infrared, the histogram gets increasingly narrow. 680 and 720 both give me a lot of nice data. At 850, that histogram is starting to narrow, and I won't have the full range from light to dark to play with in post.
By the time I reach 950nm, the histogram bump is only taking up 1/4 of the entire space; I'm not getting much tonal data to work with at all.
The coatings they use to reduce lens flare in visible light aren't nearly as effective as stopping flare in infrared. And the deeper into infrared you go, the worse the lens flare is going to be.
Thank you.
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http://kyleclements.com
The good news: Both 850nm and 950nm are perfectly hand-holdable. No problem at all for video work in bright sunlight.
I still can't get the camera to make a custom white balance preset for 680nm, but the full spectrum setting seems to work well for that one.
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The deep warm colour of the sky at 680nm is something I wanted to capture, and East Point Park offers a number of hiking trails that are rarely crowded. When I saw the clear sunny day, I knew it was my chance!
In general, it seems like in infrared, the flaws in a lens increase at higher apertures, so at f/8 and larger I can be OK, but at f/11 or smaller, I'll get a hot spot in the center. I wanted to push the Tokina a bit, and it performed very well. I didn't notice the bright, low contrast spot in the center until I was editing the video. With this much lens flare at 680nm, I wonder how the Tokina would look at 950nm.
My Nikon 14-30mm /4 has about the same level of hotspot at f/8.
I didn't notice until after the render just how poorly the digital stabilization was performing.
Camera: Nikon Z5, full spectrum converted
Lens: Tokina 11-16mm f/2.8 with FTZ
Mode: Manual
Shutter: 1/60th of a second
Aperture: f/11
ISO: Auto (100-360)
Filter: 680nm Zomei
Stabilization: MagicX Vegas Pro 19
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14-30mm/4 lens at 14mm recording 4K with 1.7 crop gives about a 24mm equivalent field of view.
Since I was headed into a low-light situation, I opted for the 680nm infrared filter, which doesn't cut too much light.
1/50, f/5.6, Auto ISO,
I think exposure compensation was set to somewhere between +1 and +2.
Background noise created by me in FL Studio 11. Wanted to give it a less electronic sound this time.
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This is yet another 950nm deep infrared walk, this time using a custom white balance (one created for 850nm, but it works just fine for 950nm as well)
I'm still not all that happy with the low-contrast images I'm getting from the 950nm filter, this will likely be the one I use the least going forward.
Using the 14-30mm/4 at 14mm with the Z5's 1.7 crop in 4K video, I'm getting the equivalent of a 24-50mm. 24mm isn't quite wide enough to do any digital stabilization in post, which crops off another 15% or so of my edges. I may have to bust out my old Tokina 11-16mm to get the equivalent of a 20mm lens for video next time.
Background music generated in FL Studio 11.
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He sometimes does the same thing with my beard.
Oh, my weird little spike potato, you are great.
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When my full spectrum converted camera arrived from Life Pixel, it came with one custom white balance pre-set by them, so the camera could make usable jpegs right out of the box. It seems to be set for a 720nm IR filter, but it does an OK job with my other filters, too. My filters are all from the same company - Zomei. The four that I have are 680nm, 720nm, 850nm, and 950nm.
I was getting some good results, but I wanted to see if I could do better by making a custom white balance preset for each filter, rather than using a one-size-fits-all approach. The Nikon Z5 does allow for up to 6 custom WB presets, so this should be possible.
I left Pre1 as the Life Pixel preset. It works, I'm not going to mess with it.
Pre2 was set for full spectrum. This was the biggest overall improvement I saw.
Pre3 was going to be for 680nm, but I kept getting an error.
Pre4 is a custom white balance for 720nm
Pre5 is a custom white balance for 850nm
I didn't bother created a custom setting for 950, as the 850 worked just fine.
The camera was in manual mode, but with auto ISO turned on, so I could record the changes in exposure levels across the filters.
With a shutter speed of 1/50th of a second and an aperture set to f/5.6, full spectrum and 680nm both stayed at ISO 100. 850nm jumped to ISO 640, and 950 needed ISO 6,400.
The biggest difference I noticed was a change in contrast or overall dynamic range. In full spectrum mode, the overall contrast is greater. The sky is much brighter than the shadows, so HDR work would be necessary, while the same image captured at 950nm only used about 1/3rd of the range the lens is capable of capturing, so some heavy curves adjustments is needed to have the full range from shadows to highlights.
All of these videos were made with the Standard colour profile in overcast lighting. Active-D Lighting was turned OFF.
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I was testing out my Zomei 950nm deep infrared filter to see if it was possible to record video at all. I've read that the long exposure times of the deep IR 950nm filter would make video impossible, but I was able to get 4K QHD video at 1/30 sec shutter, f/4, with ISO between 360-800.
The performance of this filter isn't too different from my 850nm by the same company, although the histogram feels more compressed with this filter. According to the live histogram, the dynamic range of a sunny day is about 1/3 what the sensor can handle.
I am setting the exposure compensation to about -2.00 EV for proper exposure by eye (total subjective judgement), but the histogram on the camera still reads this as being underexposed.
I'm still shooting straight jpegs though and seeing what I can do purely in-camera. I will start pushing RAW files in post on my computer after I learn what my full spectrum Z5 can do on it's own.
I used FL Studio 11 to create some ambient background noise to replace the howling wind.
I thought the weird IR black and white long-take had a weird surreal, dream-like, Lynchian quality to it.
Desaturation and curves adjustment added in post.
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http://kyleclements.com
I was testing out my Zomei 950nm deep infrared filter to see if it was possible to record video at all. I've read that the long exposure times of the deep IR 950nm filter would make video impossible, but I was able to get 4K QHD video at 1/30 sec shutter, f/4, with ISO between 360-800.
I used FL Studio 11 to create some ambient background noise to replace the howling wind.
I thought the weird IR black and white long take had a surreal, dream-like, Lynchian quality to it.
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http://kyleclements.com
14-30mm /4 lens
10 second exposure with 4 second pause between shots.
f/4
ISO 200
October 9th-10th, 8:57pm - 12:18am
No IR or bandpass filters, just pure full spectrum goodness.
Using a custom preset white balance setting. No curves adjustment or colour grading in post.
It's curious how much more lens flare is present in a full spectrum shot than in a visible light only shot. This lens is incredibly flare-resistant on my visible light Z6.
Take a close look at Jupiter (the bright "star" to the right of the moon) how it has a ring of flare surrounding it during the start of the video.
When shooting full-spectrum night sky time lapses seems, unfiltered seems the way to go.
The camera shut itself down partway into the timelapse, despite more than half the battery remaining. I have pushed my Z6 harder than this making timelapses, so it seems the Z5 sensor needs more time to rest and cool down between shots.
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15 second exposure with 5 second pause between shots.
f/4
Auto ISO (160 - 450)
+.03 ev
October 8th-9th, 9:06pm - 11:15pm
No IR or bandpass filters, just pure full spectrum goodness.
Using a custom preset white balance setting. No curves adjustment or colour grading in post.
It's curious how under the moonlight the plants remain dark, and don't glow white like they do under sunlight.
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I drove up to Massasauga Provincial Park this weekend, then canoed across Spider Lake and set up camp at my spot.
I missed sunset but I was able to get some timelapse footage of blue hour, then I was treated to a nice view of the Milky Way.
Shot with the Nikon Z6 and the 24-200mm lens.
Aperture priority mode, Auto ISO 100-10,000, -2.00 EV
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That means I gotta take my hedgehog to the park!
My little land urchin sure seems a lot braver and more willing to explore this time around.
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Sequence taken:
8:01pm - 10:29pm
July 31st, 2022
Z6 set to Program automatic with auto ISO turned ON.
EV -2.00
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At first, I thought it was a baby Osprey, but then this majestic Bald Eagle would sweep in, land in the nest and feed the bird, and I started thinking, "maybe that's not an Osprey nest after all..."
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Time to give my little buddy a little reward for surviving his medical ordeal.
Some refrigerated mealworms!
I shot with my Z6 and my new lens, the Nikon MC 105mm /2.8 VR S. This is my first-ever macro lens. Shooting macro is HARD. Especially video.
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The isopods are multiplying and eating well.
I've been misting the terrarium every few days to keep the plants alive, and feeding them lots of dried mealies, along with vegetable ends.
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Such a weird little guy. I love him so much.
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Time for a snack, little biddy!
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http://kyleclements.com
F/2.8
ISO 6400
2 seconds between shots.
I'm trying to get used to the field of view provided by a 105mm lens.
I tried to shoot the big dipper. I could only get half of it in the frame at a time.
Most of my astro time lapses have been ultra-wide angle, I was surprised by how many more stars appear with a telephoto lens.
Does anyone else notice a high number of hot pixels occurring on their Z6, or is it just me? I did a double sensor cleaning right before starting this sequence to remap the sensor, and you can see new hot pixels creeping in just seconds into this video.
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http://kyleclements.com


