I promise you that you’ll enjoy this one of you can view this in 3D! This is a perfect example of composing for depth, where the 2D image appears cluttered but the 3D image neatly places things in layers. Note: this is a cross-view 3D image!
The main image is cross-view 3D, meaning that you are supposed to cross your eyes to see the three dimensional effect. This is done by inverting the order of the images so the left side is on the right and vice versa. When you cross your eyes, the goal is to see three versions of the image – the middle one will consist of your left eye seeing the right image and your right eye seeing the left image in overlap, bringing the image to life. I usually start with the images filling no more than 20% of my field of view. Here’s a lengthier tutorial… and trust me, you’ll love what you see if you can get it to work: https://www.kula3d.com/how-to-use-the-cross-eyed-method.html
If you’ve got a stereoscope, VR headset or other viewer, here’s a version that works perfectly with these visual aids: http://donkom.ca/stereo/DKP_6686-parallel.jpg
Anaglyph version (those red/blue funky glasses): http://donkom.ca/stereo/DKP_6686-anaglyph.jpg
MPO file that can be displayed on most 3DTV’s (often by loading the file onto a memory card/stick and plugging it into the TV): http://donkom.ca/stereo/DKP_6686-3DTV.mpo
You’re looking at a thistle, illuminated with high amounts of ultraviolet light. The camera is on a tripod and during a 30 second exposure I am repeated flashing a set of four UV flashes to give me the maximum output over a length of time. This is required because the 3D macro lenses I use have very small fixed apertures, around F/45 or so for this one. These apertures are so small that diffractions comes into play, but you don’t notice it as much when you overlap the two images for a proper 3D view.
The flowers fluoresce a wonderful assortment of blues while the petals take on a reddish rust colour, which I think is beautifully in line with their thorny appearance. In order to make sure that there is no visible light contamination, an image is taken without the flashes to ensure that it is completely black. The flashes themselves are a combination of two filters that block all visible light: Hoy U-340 and MidOpt BP365. The Hoya bleeds a bit of red light while the MidOpt filter bleeds a bit of purple, but paired together they block each-other’s light bleed and “purify” the resulting UV light. If anything bounces back to the camera, it’s because whatever surface the UV light hit has fluoresced into the visible spectrum for the camera to capture.
While it would be very difficult to tech 3D photography or UV fluorescence photography in groups, I’d happily book a private workshop with anyone that wants to come to my studio to learn how to make images like this. :)
Also, due to popular demand, I’ve opened up a second date for my day-long macro photography workshop held in my award-winning gardens and studio. Check it out, it could fill up quickly! http://www.donkom.ca/product/full-day-macro-workshop-july-28-2018/