When focusing the camera, set the focus adjustment of the lens to the mid point and move the whole camera assembly until the image is in focus. Fine adjustments can then be made using the focus control in the normal way. A however figure 4 shows a graph of how front and rear focus points alter with subject distance for a 50m lens set at f16. Figure 4 - Depth of Field Chart for 50mm lens at f16 When working at or near macro levels of magnification, the optical path becomes symmetrical and we can exploit a much simpler formula for calculating Depth of Focus to give an indication of the Depth of Field. Therefore when operating at f16 with an average film, there is 0.16mm available in front of and behind the focal point.
Lighting can be complicated and depends primarily on the subject to be photographed.
There are three ways of lighting the subject, the least successful of which is daylight or ambient light. Ambient light is not easily controlled and does not have the same intensity as a specially lit set. When working with close up lens attachments, the camera and lens will normally cast a shadow over the subject which increases the exposure and makes the subject look flat. Side lighting with tungsten or flash will show the detail and texture of the surface as well as generally raising the light levels. Tungsten lighting is useful as the camera can do metering and the full effect can be seen thought the viewfinder.