No idea what I'm doing, having a great time. question re finepix s 4500 & attach clamp on etc.

[ELKRIVERSCOTT]

My wasted past was 16 mm motion picture news and commercials, some 35 mm picture in a picture news stills. I just found that for my letter size photos a 14 mp camera non studio bridge cameras were selling for pocket change. I'm going to learn with this used coal powered beauty. All I'm after is a photo album color pic that looks close enough to a costly camera print. This camera does well enough with video to feed a tv transmitter without vhs clarity.
My big idea is to shim a 64mm clamp onto a 62.5 mm lens body housing to insure a fit and have the threads at 82 mm since this is the size I'm most used to. Then a extension tube to end up with a lens barrel that can shoot with my telephoto out 40 mm from the front of the lens inside my added lens barrel. The 64 mm clamp attaches to the housing for the lens barrel and the camera body appears to carry the weight and not affect the zoom.
Then! at the end attach a shade and a filter.
So its a clamp onto lens barrel with a 82mm thread and then about 50 mm of tunnel to a female thread. How about a telephoto lens shade that is long to help fill the gap?


Thanks for reading. I rely on the kindness of strangers. Best advice i got is "Take a picture then move camera" still or motion.
P>S> Anyone ever try IR light array like surveillance cameras use and record B&W

 

[petrochemist131 156]

My wasted past was 16 mm motion picture news and commercials, some 35 mm picture in a picture news stills. I just found that for my letter size photos a 14 mp camera non studio bridge cameras were selling for pocket change. I'm going to learn with this used coal powered beauty. All I'm after is a photo album color pic that looks close enough to a costly camera print. This camera does well enough with video to feed a tv transmitter without vhs clarity.
My big idea is to shim a 64mm clamp onto a 62.5 mm lens body housing to insure a fit and have the threads at 82 mm since this is the size I'm most used to. Then a extension tube to end up with a lens barrel that can shoot with my telephoto out 40 mm from the front of the lens inside my added lens barrel. The 64 mm clamp attaches to the housing for the lens barrel and the camera body appears to carry the weight and not affect the zoom.
Then! at the end attach a shade and a filter.
So its a clamp onto lens barrel with a 82mm thread and then about 50 mm of tunnel to a female thread. How about a telephoto lens shade that is long to help fill the gap?


Thanks for reading. I rely on the kindness of strangers. Best advice i got is "Take a picture then move camera" still or motion.
P>S> Anyone ever try IR light array like surveillance cameras use and record B&W

I'm not quite sure what your plans are, but it sounds like you're talking of adapting lenses - something I do a fair bit of.. If this is the case then you need to be aware that distances are critical as is keeping the lens axis perpendicular to the sensor plane.

Most of the lenses I've adapted have made use of manufactured adapters, though one or two of those have still been unable to get infinity focus by being a fraction of a millimeter too long.

The projection lenses I have do not fit standard adapters. I have glued stepping rings to these making use of ridges on the lens to ensure alignment, then connected to the camera using a helicoid which allows the distance to be altered for focusing. Here's my 50mm/1.2
Mounted 50mm/1.2 projector lens by Mike Kanssen, on Flickr

The larger lenses I've used that weren't suitable for this approach have all been fitted to a homemade lens board for my large format camera (which has built in movements allowing the lens to be tilted & shifted correcting any misalignment.
Here's my largest to date
A challenging lens by Mike Kanssen, on Flickr


As to infra red I play with that too
Most of the time using converted cameras that when unfiltered in daylight typically get as much signal from IR as they do from visual light. A couple of my older DSLRs are inherently more sensitive to IR than modern cameras allowing IR to be recorded with a little effort (& and a Infra red filter)
Monochrome Infra red will look quite different from black & white. Here's a combination of two panoramas shot minutes apart that give an idea of the difference
merged oban view bw small by Mike Kanssen, on Flickr

If playing with IR is still of interest with patience you can now get 36MP/4K Night vision Digital/recording monoculars for less than £10 - not sophisticated systems but allow you to play around without spending a fortune...

 

[ELKRIVERSCOTT]

I can't thank you enough for reading and responding. My main concern now is using the zoom inside a extension tube tunnel . I was thinking the final build will be a 64 to 82 mm clamp on then a 2 inch or more or more 82 mm extension tube that i can attach a filter and or a sunshade to. Is it the 82 mm tube diameter that will help with vignette or would a smaller diameter tube give the same view to the sensor with little vignette, or would a smaller diameter with adapters stepping up to 82 mm work well?
As far as the IR ,I was wondering if a night vision floodlight in darkness shot in B&W would work.
I do love the digital world without dipping negatives and using an enlarger and since this is non commercial work I end up with a print passing as a high quality film print. I believe the multi camera shots on a moving vehicle or airplane are shot with a sports cam for television and occasionally see them mounted and can be seen with other cameras.
I'm into history and the evolution over centuries in the UK are stunning. Good luck mate!

 

[petrochemist131 156]

Most cameras have little response to IR so would not benefit much from an IR floodlight. Even my old K100d which can just about be handheld shooting IR in sunlight, would need very long exposures. Only once the camera is converted for IR does shooting in the dark with IR lighting really become practical.
This was taken using an old Sony camera with 'Nightshot' mode (which includes it's own IR lighting)
nightshot portrait by Mike Kanssen, on Flickr

Another one with a converted camera using an IR filtered flash
IR flash selfie by Mike Kanssen, on Flickr
Both in near complete visual darkness.

As far as hoods go it's all dependent on the field of view of the lens.I have multiple lenses with diameters around 70mm. One came with a hood ~100mm deep (and could use a longer hood when zoomed in) another would vignette heavily with even 5mm of hood added. It might help you to visualize the cone of light forming the image anything interrupting that cone will cause vignetting - LHS of the visible subject/background to LHS of the front element & the same for RHS, top, bottom etc (corners are often most significant).

 

[ELKRIVERSCOTT]

My hope is to learn enough to assist noobies on their path. Interesting that the complicated world of film and developing had been liberated by no big cost for each print. There is however a learning curve for digital that is much taller than I expected. It's unusual to have a camera searching to focus and set f stops and ISO for the user.
Thanks for putting me on the right path regarding IR and dreaded vignette and abilities of a computer assist. While film and digital are much the same, being able to display the outcome and change the ability to produce what I am looking to do is sweet.
Things get easier to see the more times I page through the manual. I was fortunate enough to doubt a machines ability to even produce an image without film. Even with the new two inch, one half ton tv studio video players one had to use film to get anything on the air. Modern times are great. I can even do some time exposure with 8 seconds to use.
Thanks again for being immersed enough to understand the path to digital, much of what we have now I could never imagine. Without Kodak, Sony would be impossible. Good luck mate! (Love that word)