From Studio to Field - a Different Approach to Lighting

Another Way to Look at Light

In the field, it is all about flexibility and preparation

Last week, on Thursday, I introduced a new series of discussions looking at the challenges facing a studio macro photographer who was planning to take what they have learned out into the field. It is a subject we have not really focused our attention on in the past. There is a lot to consider when planning such a move, so I decided to break the discussion down into a series of streams based on the various areas that would need attention - lighting, working with living subjects, managing motion, and more. Then, over the weekend, as I began putting the content together it occurred to me that there was another group of photographers who were being left out of the discussion - the folks that have been thinking about bringing their macro indoors.

Studio work is all about precision

My first reaction was to conclude that including that group would be redundant - a repetition of what I was already discussing, only in reverse. But, of course, that is not the case at all. The challenge of learning about lighting for high magnification subjects in the studio when one is coming from long years of perfecting light management in the field is completely different, in almost every respect, from learning how to use found light in the field when your background is microscope objectives and multi-LED light cages. There is nothing repetitive about these two approaches to lighting - they are equally challenging, no matter which direction you are moving in.

Single shot macro means getting the light right first time

So I have decided to look at each topic from each of the two perspectives in alternating livestreams over the next few weeks. On Tuesday’s we will look at the issues facing a field photographer wanting to add studio insect photography to their skills…

… and on Thursday’s we will ask all the same questions about the studio photographer wishing to tackle the great outdoors.

For each topic (this week it is all about lighting) we will look at what has to change when moving from field to studio, or vise-versa, and what doesn’t. We will look at gear and technique options, spending a good part of our time discussing the unique features of lighting in the studio and field respectively.

Multi-flash lighting of a small weevil - ambient/background light eliminated

This is the kind of conversation that should have value for anyone interested in close-up or macro photography, regardless of your interest in insects, or lack thereof. It should also be of real interest to those with no plans to change what they are doing - a chance to review and update what you are already doing. The sessions will focus on my experience with both transitions and will include tons of examples, with photographs to illustrate each point discussed.

Bee mimic hover fly lit using available sunlight and a reflector card

The link for Tuesday’s Macro Talk is here - https://youtube.com/live/JUD1Sv3k5s4?feature=share          and the link for MacroTalk Too, Thursday at 2PM, is right here - https://youtube.com/live/fsmLqXLKvE0?feature=share

On Friday I will be co-hosting, along with Harold Hall, the next episode of Chemical Art, our unique discussion forum for those interested in making birefringent crystals to photograph. I have been busy with the homework assignment - looking for interesting crystal structures in evaporated soy sauce (and some other available condiments from distant lands) and have managed to find a few (though I am not crazy about the smells of some of these liquids, some of which have persisted for several days after evaporation). We meet on Zoom at 2PM of Friday, and the meeting is completely free. Even if you are not too interested in this particular fermented fluid, come anyway - we have a ton of fun learning new stuff every time we get together. Here is your invitation and link to the festivities… Allan Walls is inviting you to a scheduled Zoom meeting.

Topic: Crystal Art

Time: Feb 13, 2026 02:00 PM Central Time (US and Canada)

Join Zoom Meeting

https://us02web.zoom.us/j/6916802815?pwd=TS9tZi9ZL1NXeVUvOUF4eTg5YjdlZz09&omn=82857563927

Meeting ID: 691 680 2815

Passcode: 678122

Join instructions

https://us02web.zoom.us/meetings/82857563927/invitations?signature=QHmSGqbMPCcboxe6U7Gqq5HHr0bNUZ0WQmv5okiGNjI

For those of you who support my work (and it really is work!) through Patreon, it is, once again, time for us to gather for some stimulating photography-related banter. Pzoom will be at its usual time on Saturday morning, 10AM until noon, and, in addition to our usual updates, introductions, questions, and channel-related announcements, we will be looking back at the week’s content and digging a little deeper into concepts that were not fully explored. If you do not attend these meetings, I would reconsider doing so - it is a very special group of enthusiastic and talented macro photographers whose input has been invaluable over the years. These meetings are my favorite events of the month and I cannot recommend them more highly.

Solitary bee lit with a single, diffused low power speedlight

You invitation and pass code are over on Patreon, in yesterday’s post. See you there.

If you would like to support the channel, please visit my Patreon page for all the details - we would love to have you! https://www.patreon.com/allanwallsphotography

With all of these programming notes taken care of, let me report on last week’s AfterStack - number 39. We are only meeting once during the month, so Bud and I feel it is vital that we make each session as helpful as possible. Saturday was a perfect example of that. We talked about renting our wrk using the Photoshop print utility and it was a rich and fascinating discussion.

A tiny weevil lit by multiple low power flash units

As the owner of a recently acquired wide format Epson printer (a Stylus Pro model 7880), this conversation could not have come at a better time (which seems less-of a happy coincidence when you discover that it was my idea to talk about this), or been more helpful. If you have ever been perplexed by the  complicated and confusing user interface of the Photoshop print dialogue, this conversation is for you. Bud Perrott led a tremendous discussion of everything from sizing and resolution to color management and ICC profile selection. The session was recoded and is available by following this link … https://us02web.zoom.us/rec/share/qk3L9EzSR2-SBOxsH3FmTuvkbSZOMXyWYjHKFwwmHs1VKkyOQDVmz9p_HlRJRaKf.mWovGfrleH73dr0u (this link expires in 32 days - if you would like to keep a copy of this event recording, please download to you computer before it is removed by Patreon).

The subject lit by my flash, pulled back to allow ambient illumination of the background

On the subject of AfterStack, if you are looking for episode #38 I am sorry to report that there is no YouTube video of that session. A problem with the recoding prevented me from importing and editing the content in my video editing software. This was strange as the downloaded recording could be played back with no apparent issues in the two video player programs I tried. So while there is not a  video for the last episode, I do have a copy of the recording which I will be happy to send to you upon request. I will also be trying one other transcoding recommendation tomorrow, and if I am successful in getting the recoding posted, the link will be available to my Patreon Supporters as early as Monday.

I will finish with a completely unrelated and non-photography related recommendation, something I do not typically do. My brother made a podcast recommendation to me over the weekend. His suggestions are usually good and I did not hesitate to give this channel a listen. It was fantastic. It is called “Moonshots” and is available wherever you get your podcasts.

It is free, which is another reason you should try it. It deals with the newest updates of Artificial Intelligence development and consists of a group of extremely well-informed computer experts discussing AI related topics that are truly cutting edge. It is released every 3-4 days and is, in equal parts, exhilarating, shocking, and utterly terrifying. As I listen to this week’s episodes, it has dawned on me that I know only a tiny fragment of what is actually going on in the world of AI, and much of what I thought I knew was wrong. If you are interested in learning more about what is actually happening, and how it promises to change literally everything about being a human on this planet, give it a listen.

Euglossa - Orchid bee - ecuador

The images in this post are all from a file that I thought had been lost daringly most recent computer catastrophe, last year. I never expected to see these pictures again.

The XP3BIO - Instructions for Assembly and Use

Thank you and congratulations on becoming the owner of my Cross Polarizing Photography Platform for Birefringence Imaging and Observation (XP3BIO). Your model is the new and improved version and your device is number 1 of 10 in this very limited model. You cannot, to the best of my knowledge, purchase one of these viewers anywhere else on the planet!

The viewer fully assembled and ready to use

This version of the platform represents a significant improvement over the first model in several ways. The viewer is smaller and lighter, but with a larger viewing area. It is designed to be used both in the horizontal position. With a new 1/4” 20 TPI mounting point, it can be secured to an articulating arm and positioned in almost any orientation. It is intended for viewing and/or photographing birefringent crystals grown on microscope slides and such slides can be locked into position on the specimen cassette to ensure they do not move or fall from the cassette during use. It contains a powerful light source and two layers of high quality linear polarizing material, along with a built-in diffusion layer and an empty filter cassette for addition of an optional retarder (wave plate), useful for viewing weakly birefringent material. I have included a brand new power supply, matched to the current requirements of the viewer. As an added bonus, I have prepared a sample slide (Acetanilide and ascorbic acid in methyl ethyl ketone) and installed it in the viewing position on the yellow specimen cassette. In the next section I will explain the purpose of each level and provide detailed instructions on how to use the device.

The colors are all wrong but fusion is not letting me change them

The viewer is made up of 4 separate levels, held in place by a cap ring secured with a pair of thumbscrews. The cap ring and levels 2-4 can be removed from the base (level 1) by removing the thumbscrews. Each level can only be mounted in one rotational orientation - do not try to force a level into the assembly without aligning the side pins with the receiving grooves on the  upright extensions from the base.

The cassettes, in levels 2, 3 and 4 are freely rotatable through 360º by inserting the point of  pen or pencil through the groove on the side of each level to engage with the  circular depressions around the cassette perimeter. Each level and the cassette corresponding to that level are color coded and numbered. They should always be mounted onto the base (level 1) in the same order (2-3-4-Cap Ring).

Level 1 - the base layer - really black, not green

Level 1 - the base layer - color black - this layer contains the light source, wiring, 12V power socket and switch. When plugged in to the 12 volt power supply, the device is activated by showing the red switch. The Base Level also contains a cassette that holds a layer of diffusion filter material below and a layer of linear polarizing filter material above. The black cassette in the base is not accessible during use and it is not necessary to rotate this cassette during use. Avoid handling the level 1 cassette to prevent smudging, which could impact the quality of images photographed using this platform. This cassette may be removed to access the light source and wiring within the base layer. Not that the base layer has two vertical posts, with a brass insert at the top of each post. One post has a single square groove on its inward oriented face, while the other has a pair of round grooves on its inward facing surface. These grooves correspond to the vertical ridges visible on the perimeter of levels 2, 3, and 4. These insure proper orientation of the upper levels and prevent rotation off the level housings during rotation of the cassettes. The base level has a cubic prominence into which a brass thread insert has been installed. This allows for mounting of the assembled device on an articulating arm, which may be used to aid in positioning of the device during use. The insert accepts a standard 1/4”, 20TPI screw.

Actually pale blue, this is the 2nd layer, for a wave plate (optional)

Level 2 - the Retarder Level - Color Blue - this level is included for mounting an optional retarding filter or wave plate. The device is shipped without a retarding filter installed in the Level 2 cassette. A circular  retarding filter with a diameter of 100 - 102 mm, may be installed in the cassette and held in place by 2-3 drops of hot glue, or other adhesive. Make sure the glue has dried completely before installing the cassette in the level 2 housing - failure to do so may prevent rotation of the retarder plate during use. During normal use, this level and its cassette may be left empty. The addition of a wave retarder is not required for viewing the majority of common birefringent crystals.

Actually yellow - both the housing and the cassette

Level 3 - the  Specimen Level - Color Yellow - This level is designed to securely hold a glass microscope slide in one of two common sizes - 25mm x 75mm or 50mm x 75mm. The detents for each size slide are oriented perpendicular to each other, so that only a single slide may be mounted at a time.

Note the tiny retaining tabbe for each slide

At each end of the detents are either one or two tiny retaining tabs. To mount a specimen slide, the slide should be inserted beneath the paired tabs and lowered into the detent while gently squeezing the cassette on an axis perpendicular to the long axis of the slide. This will provide just enough clearance for the opposite end of the slide to fall into the detent, after which the lateral pressure is relaxed causing the single tab to engage with the slide, holding it firmly in position and preventing any movement of the slide during positioning or viewing. The slide is removed by gently squeezing the yellow cassette while raising one end of the slide (the end with a single tab) and pulling it forward, out of the slide holder. ***Care is required to avoid slide breakage. This cassette can also be rotated to adjust subject framing and composition.

Meant to be light gray - the second polarizer

Level 4 -  The Analyzer Level - Color Grey - This level is used to house the second polarizer in the system. It is this filter that is rotated to achieve the desired level of cross polarization (the first polarizer is fixed). This cassette is also rotated using the tip of a pen or pencil, inserted into one of the round depressions on the circumference of the  cassette. When the second polarizer is perfectly positioned, perpendicular to the polarizing axis of the first polarizer, all light will be extinguished except for that being refracted by the birefringent material. Note that this is the last layer at the top of the device and that it is prone to damage or the accumulation of dust and other debris. When not in use the device should be stored in a closed box to prevent damage to the polarizing film.

The top ring holds everything together

Level 5 - The Cap Ring - Color Black - this is not a functional level and serves only to secure all the lower  levels within the device, allowing it to be positioned in any orientation without movement of the component parts. The thumb screws must be used to secure the device when in use. I have recently replaced the original screws with much shorter fasteners that allow rapid entry to the stack and access to the slide cassette. There should be no reason to dismantle the levels except to change the subject slide. The slide cassette is easily accessible and can be removed simply by removing the Cap Ring and the Level 4 housing. It is not necessary to remove the Level 3 housing to  change the slide. Removal of the cassette will suffice.

A complex crystal photographed on the XP3BIO

Suggestions for use of the XP3BIO

• Until you have some experience with the equipment, avoid using slides that still have unevaporated solvent present. Some of the solvents used could damage filters or the device itself.

• Use only the provided 12 V power supply to avoid damage to the LED panel.

• Do not over-tighten components attached to the brass insert on the front of the unit.

• Never touch the filters - dirt and debris may lower image quality.

• In some circumstances you may wish to further diffuse the light from the powerful COB light source. To do this cut a circle of 200mm diameter and place it on the shelf holding the Level 1 (base) filter cassette. Remember to remove when no longer needed.

• Do not place anything other than a wave plate/retarding filter into the Level 2 (blue) cassette. A diffuser will lessen the effectiveness of the polarizing layer.

• You may wish to add small rubber bumpers to the base and/or edge facings to prevent slipping.

• Never leave the device turned on  when it is left unattended. I have tested each unit and the COB LED does not produce enough heat to effect the housing or filters. But it is prudent to err on the side of caution.

• The device works better when the cap ring is in place and thumbscrews are secured - without this locking layer it is possible to encounter difficulties when trying to rotate cassettes. Rotating the housing with the cassette may make it more difficult to maintain a particular level of cross polarization.

• To view a specimen, remove both thumbscrews and lif off the cap ring. Carefully pull up on the second polarizer level (Level 4) and remove the housing and the cassette with polarizing filter. Then carefully remove only the slide holder cassette, leaving the housing in place. Gently squeeze the sides of the cassette to release the slide from the retaining tabs. Position one end of the new slide under the double tabs, then squeeze the slide holder on each side of the slide to raise the tab slightly and allow the slide to drop under the single sealing tab. Return the cassette to the yellow Level 3 housing. Replace the Level 4 housing taking care not to touch the polarizing filter and making sure that the ridges on the perimeter of the housing engage with the slots in the upright Level 1 alignment posts. Replace cap ring and tighten the thunbscrews before placing the viewer under your microscope or on your photography platform. Use an articulating arm secured to the viewer at the square mounting post if you wish to use the viewer at an unusual angle. Turn on the viewer’s light with the small toggle switch. Carefully rotate the yellow subject level cassette to the desired orientation for your composition. Then rotate the Level 4 cassette to maximize the polarizing effect. If no wave plate is being used it should be possible to completely extinguish all light except that which is being redirected by the birefringent material on the specimen slide

total extinction of ambient light when polarizing layers are 90º out of phase

In closing, thank you for purchasing this device! I am thrilled that you have sufficient faith in my “maker” skills to part with some of your hard-earned monies to acquire an XP3BIO. If you are happy with the device, please tell your friends, but if you are not, please tell me. I have made many improvements to the original design, but I am perfectly willing to believe that there are many more still to be made. If you think of one, please let me know!

I hope you enjoy using this invention as much as I have and I hope to see many of your crystal images in the future.

Allan