"I capture snowflakes at open balcony of my house, mostly on glass surface, lighted by LED flashlight from opposite side of glass, and sometimes in natural light, using dark woollen fabrics as background." — Alexey Kljatov
"This is post-processed snowflakes, cropped from full 12mp shots, mix from 2009-2013 years. Usually i add to them artificial colours, because original shots almost monochromatic and looks not appealing. Some snowflakes captured in standard macro mode, others with Helios 44 add-on"
"On a floor of a balcony I put the turned stool (legs up), on them - a glass plate. Previously, i shoot using Canon A650’s standard macro mode. For this, from a small plastic bottle I cut central cylindrical part in the form of a tube (height 5.5 cm). This height I picked up so that the lens of the camera, pushed in a tube, will be at distance 1 centimetre from the bottom (this is minimum focusing distance of Canon A650 in macro mode). I just put this cylinder with the camera’s lens within it over the chosen snowflake, the lens looks vertically down. For steady shots, i shoot in small series with starting delay 1-2 seconds after focusing, taking away my hands off the camera. With free hand i illuminate snowflake with flashlight from under the glass. The flashlight shines through two layers of white plastic bag for more uniform lighting. This is enough for shooting even at night with minimum ISO and short exposure time.
Recently, i built simple macro add-on for the camera. I used lens Helios 44M-5 from old USSR SLR camera Zenit (here is short description in wikipedia). At first, i attached these lens at narrow wooden board (around 30 cm long), reversed: a back lens to snowflake, front lens to camera, and drilled in a board an opening for a screw suitable to tripod nest of the camera. Then camera is put on a board so that the lens in the maximum optical zoom mode (6x) touched Helios lens and looked straight into them. I attach the camera by a screw and additionally with metallic bracket, glued to the board, it holds opposite side of camera, so it didn’t move anywhere. On Helios’s back side (which is front of whole construction) i attached three standard narrow extension rings from Zenit camera (this is needed only in case of shooting at glass surface with backlight). This holds lens at needed focusing distance from the glass with snowflakes (2,5-3 centimetres). Place of connection between internal and external lens i covered with some sort of skirt, made from black plastic bag: this protects connection point from outer light, snow, ice and water drops. All design turned out rather strong and steadily stands vertically with lenses looking down. I simply put it on glass over the chosen snowflake and shoot at maximum optical zoom instead of macro mode. Camera’s autofocus works well.”
Helios magnifying part of pen:
"Perception is a recurring theme within my practice, and has become a foundation for me to explore ideas that reflect on notions of time, space, simultaneity and duration. As an artist, I am interested in the aspects of experience where the real, the known, and the imagined collide. Spatio-temporal relations, and visualizing the invisible are predominant subjects. My interpretations are informed in part by science, philosophy and fiction. Experimentation and process are at the forefront of much of my work, at times resulting in ambiguous narratives and hybrid exercises." — Isabel M. Martinez
Count #1 (One Hundred Mississippies)
Count #2 (Forty Inhalations)
Count #3 (Two Hundred and Fifty Heartbeats)
Count #4 (Thirty-Two Happy Birthdays)
Count #5 (One Hundred Blinks)
“The photographs in Quantum Blink are composed of two exposures taken instants apart. The striped pattern is the result of masks placed in-camera, this feature allows me to blend two images together and at the same time keep them from fully fusing onto one another.”