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I'm finally happy with my numismatic photography setup, at least "happy enough" to stop modifying it for a while. My latest work developing "Smile Directors" (light source shapers) for the Jansjo LEDs has paid off and they are giving me a method to equalize the differences between raw and slabbed coins; maximize angle from horizontal to bring out color; provide diffusion to minimize hotspots; yet still provide a small enough illumination spot to set-off a luster response.
A major factor in making this setup "final" is the ability to "calibrate" the lighting using a now permanently-installed stage mirror. Before, it was all guesswork as to how the lights were shining on the coin. With the mirror, I can accurately position them at the same incident angle for every photo, so if I bump the lights, shift over to high magnification imaging, set up to test a new lens, etc I can quickly get right back where I was.
Here is my calibration photo of the lighting setup. Note that I stopped-down to f22 for this to show a better definition of the size and shape of the illumination slots in the Directors.
As you can see, I'm not shifting very far from the traditional 10-2 arrangement that seems to work so well. Only real difference is that the size and shape of the sources are tightly-controlled with the Directors and positioning is made repeatable with the calibration method. By the way, try doing this with halogens and you'll start a fire!
And of course, first photo I took is of my old favorite 57D toner.
This coin has been through a lot since I first photographed it. It's been my primary coin for comparing lighting techniques, lenses, vibration reduction methods, tilting, etc. Every setup I've built has been verified with this coin. But 99% of the photos taken of this coin have been the obverse. Well...tada! Here is the reverse in all its glory:
For those of you not familiar with my setups, I have them documented pretty well on CC forum in this thread:
Here's an older photo of the setup I'm using now, but before I added the mirror:
Here's a recent photo showing the reversible stage plate on top of the calibration mirror:
Finally, here's a photo of a "Smile Director" over the face of a Jansjo LED light:
Now for my sinister plan...I am going to take photos of the rest of the toned Lincolns from this same roll and publish them in this thread. I will do this over a bit of time, taking down the setup between photos in order to ensure the calibration method works well and gives repeatable illumination.
By the way, I settled on a height of 100mm from coin surface to the faces of the Directors. This gives what I think is best shadow detail on the coin.
And of course there are other setup details...
Camera: Nikon D7000
Shooting modes: RAW; Aperture Priority
ISO: 100
Shutter Speed: 1/13sec (+/-)
Copy Stand: Modified Chinese StereoZoom Microscope stand (would not recommend...B&L A-Stand are better)
Bellows: Nikon PB4 (no tilt or shift used) with BR15 M39 adapter (overkill but nice precision instrument)
Lens: 75ARD1 (Rodenstock 75mm f4 Apo Rodagon D M1:1)
Aperture: f5.6
PostProcessing: Nikon ViewNX2; Sharpening "1" after downsizing for web publishing
A major factor in making this setup "final" is the ability to "calibrate" the lighting using a now permanently-installed stage mirror. Before, it was all guesswork as to how the lights were shining on the coin. With the mirror, I can accurately position them at the same incident angle for every photo, so if I bump the lights, shift over to high magnification imaging, set up to test a new lens, etc I can quickly get right back where I was.
Here is my calibration photo of the lighting setup. Note that I stopped-down to f22 for this to show a better definition of the size and shape of the illumination slots in the Directors.
As you can see, I'm not shifting very far from the traditional 10-2 arrangement that seems to work so well. Only real difference is that the size and shape of the sources are tightly-controlled with the Directors and positioning is made repeatable with the calibration method. By the way, try doing this with halogens and you'll start a fire!
And of course, first photo I took is of my old favorite 57D toner.
This coin has been through a lot since I first photographed it. It's been my primary coin for comparing lighting techniques, lenses, vibration reduction methods, tilting, etc. Every setup I've built has been verified with this coin. But 99% of the photos taken of this coin have been the obverse. Well...tada! Here is the reverse in all its glory:
For those of you not familiar with my setups, I have them documented pretty well on CC forum in this thread:
Here's an older photo of the setup I'm using now, but before I added the mirror:
Here's a recent photo showing the reversible stage plate on top of the calibration mirror:
Finally, here's a photo of a "Smile Director" over the face of a Jansjo LED light:
Now for my sinister plan...I am going to take photos of the rest of the toned Lincolns from this same roll and publish them in this thread. I will do this over a bit of time, taking down the setup between photos in order to ensure the calibration method works well and gives repeatable illumination.
By the way, I settled on a height of 100mm from coin surface to the faces of the Directors. This gives what I think is best shadow detail on the coin.
And of course there are other setup details...
Camera: Nikon D7000
Shooting modes: RAW; Aperture Priority
ISO: 100
Shutter Speed: 1/13sec (+/-)
Copy Stand: Modified Chinese StereoZoom Microscope stand (would not recommend...B&L A-Stand are better)
Bellows: Nikon PB4 (no tilt or shift used) with BR15 M39 adapter (overkill but nice precision instrument)
Lens: 75ARD1 (Rodenstock 75mm f4 Apo Rodagon D M1:1)
Aperture: f5.6
PostProcessing: Nikon ViewNX2; Sharpening "1" after downsizing for web publishing
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