•
True!
…but Nick is devoted more to macro
technologies within the equipment he
intends to use and explores (and ex-
plains well too) the different possible
approaches.
His working conditions are not the sa-
me as Andy's who intends to use a DX
DSLR.
OT? Sorry folk, I don't normally post here so I don't know the etiquette. But Daniel's post sparked some thoughts. Might as well share them now I've written them down. Probably not relevant to the discussion, so perhaps best ignored.
I don't do studio work like you do Daniel, and I don't use full frame, but I use APS-C as well as MFT and small sensor bridge. The fact I use close-up lenses on all of them at the moment isn't a matter of having decided that close-up lenses were the answer and working from there.
My thread in the macro and close-up forum is all about a year and more's exploration and comparison of dSLR, MFT and bridge, with prime macro lenses including the MPE-65 with MT-24EX, Canon 100L IS and Sigma 105 DG HSM, and also extension tubes, teleconverters and reversed lenses, as well as close-up lenses ranging from the low power 500D to the extremely powerful (takes me further than the MPE-65) Raynox MSN-505. So my investigations were not constrained by budget or prior decisions as to the best technology to use. (The only reason I didn't try FF was that my experiments indicated that it wouldn't help, not for me, not for what I wanted to do, not for how I wanted to work. But it is something I have considered, and still do, especially for botanical work.)
I was as surprised as anyone that I ended up choosing (at least for now) to work exclusively with general purposes telezoom lenses with/without close-up lenses on APS-C (for natural light botanical and large invertebrate work) and MFT (for very small subjects), and with close-up lenses on a consumer grade bridge camera (for most of my invertebrate work). But it was a result of an open-ended, exploratory, evidence-based approach aimed at finding technologies that worked for me (and that includes ancillary issues like ambient vs flash, diffusion methods, tripod or not, and very important indeed post processing products and techniques).
I feel quite strongly that it is preferable not to over-constrain newcomers to close-up and macro with assumptions drawn from one's own experience about what will or won't work. People have a wide variety of interests, time availability, comfort zones, budgets, techno-love/techno-fear, current equipment, subject availability, aesthetic sensibilities, hand-eye coordination, eyesight, mobility and more. Despite my own strong preferences for what I (currently) use and how I (currently) use it, I try to be as open minded as I can about what may suit others.