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The use of the word flora as referring to a particular area’s vegetation has been used by botanists since the 1640s, but it became common with Swedish botanist Linnaeus, who in 1745 wrote “Flora Suecica,” a study of the plant life of Sweden. The word was a natural fit, as Flōra was the name of the Roman goddess of flowers. When scientists study a region’s flora, they classify their findings and create a descriptive list, which is also called a flora.

Introduction EquipmentOn the next 5 following pages I describe the equipment that I have use to take the photo’s in this book

PH. Light

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In combination canon EF 70-200 mm

The EOS 40D becomes the sixth Canon ‘pro-sumer’ digital SLR, a line which started back in 2000 with the EOS D30, and how far we’ve come. It’s been eighteen months since the EOS 30D and although on the surface the 40D looks like a fairly subtle upgrade there’s a lot that makes this an even better camera. Of course we expect a step up in megapixels, and so the 40D comes with a ten million pixel CMOS sensor with the same sort of dust re-duction as the EOS 400D, an ultrasonic plat-form which shakes the low pass filter. Other improvements bring the EOS 40D closer into line with the EOS-1D series, these include a move to the same page-by-page menu sys-tem, both RAW and sRAW (2.5 MP), 14-bit A/D converter and 14-bit RAW, cross-type AF points for F5.6 or faster lenses, a larger and brighter viewfinder, interchangeable focusing screens, a larger LCD monitor (3.0”) and faster continuous shooting (6.5 fps).

Canonhttp://www.canon.be/

• Canon 40 D

The EF 70-200mm f/2.8L IS II USM Lens from Canon improves upon its predecessor, one of the most ac-claimed lenses in the Canon EF line, with superior performance, increased speed and optical quality.

This lens construction consists of one fluorite and five ultra-low dispersion optical elements which help deliv-er the sharpness and reduced aberrations. The IS II Optical Image Stabilizer provides up to 4 stops of correc-tion at all focal lengths and features two modes for stabilization of still objects and while panning to follow moving subjects. An ultrasonic focusing motor provides fast, smooth and silent autofocus action.

This lens has a minimum focusing distance of 3.9’ (1.2 m) at all zoom settings so you can shoot close to your subject even in smaller spaces. Like all Canon L-series lenses, this telephoto zoom is dust and moisture resis-tant and designed to keep on going even in the most challenging of environments.

• Fluorite & ultra-low dispersion lens elements reduce aberrations and contribute to high resolution, high-contrast imaging.

• Two-mode Image Stabilization can correct for all types of camera shake. Mode 1 corrects for still images and Mode 2 for the extraneous up and down movement created when panning with a moving subject.

• An ultrasonic autofocus motor provides fast, smooth and silent autofocus. • Manual focus override enables precise manual focus even when in autofocus mode. • A focus range limiter lets you set the range of focus distance which enables shorter focusing times. The

two ranges are 3.9’ to infinity and 8.2’ to infinity. • A truly round aperture hole results in more pleasing out-of-focus areas. • Tight seal structure ensures excellent dust-proof and moisture-proof performance. • Removable, rotatable tripod collar is included.

• Canon EF 70-200mm f/2.8L IS II USM In combination Canon 40D

Canonhttp://www.canon.be/

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The Sigma 70-200mm f/2.8 EX DG APO Macro HSM features 70-200mm at focal length with maximum aper-ture of f/2.8. The lens construction has 17 elements in 14 groups and has diagonal angle of view at 34.3 de-grees. Closest focusing distance at 180cm/70.9 in and has a filter size of 77mm. The Sigma 70-200mm f/2.8 EX DG APO Macro HSM lens weighs 1270g/44.8 oz and it measures 3.4 inches in diameter and 7.2 inches long.

• Sigma 70-200mm F2.8 EX DG Macro HSM

Sigmahttp://http://www.sigma-global.com/en/

Panasonic FZ50used in combination of a Raynon DCR 250 conversion lens

The camera is known for its high-quality optics and effective optical image stabilizati-on system. Many professional reviews have commended it for its excellent pictures at ISO 100, but it has a reputation for excessi-vely “smeary” noise reduction at higher ISO settings; this can be negated by using the RAW capture mode. It uses proprietary lithi-um-ion batteries. There is no storage built into the camera; an MMC, SD, or SDHC card is required. High-speed SD cards up to 2 GB and SDHC cards up to 16GB are supported.The camera has many SLR-like handling fea-tures: dual control wheels for aperture and shutter speed, manual focus (focus-by-wire) and zoom rings, and a flash hot shoe. It is among the largest non-SLR cameras built, and is positioned at the high end of the bridge-camera market.

Zooming while recording movies is supported since the zoom is manual. The camera also includes an “ex-tended optical zoom” system providing greater optical zoom ability when shooting at lower resolutions, giving up to 19.3× zoom at 3MP. Essentially, this just crops the center out of the image in-camera, but can be useful for metering and framing purposes. Apertures from f/2.8 to f/11 are supported, though the largest apertures are not available at high zoom levels (f/3.7 at full zoom). Shutter speeds range from 60 secs to 1/2000 sec, although shutter speeds faster than 1/1000 sec. are not available at the widest apertures. Several different auto-focus modes are available. The AF-macro setting can be selected for all camera modes. Macro capability is not outstanding (5 cm minimum focal range at 1× zoom), and the tele-macro capability present on the lo-wer-end Panasonic FZ models (the ability to focus down to 1 m at 420 mm) is not present; the FZ50 can only focus down to 2 m at 420 mm. However, the FZ50 is commonly used to record high-magnification macro ima-ges with an inexpensive conversion lens; the most commonly used lens for this purpose is the 8-diopter Ray-nox 250.

The FZ50 has a screw mount to accept 55 mm filters, and is compatible with a wide variety of Panasonic-bran-ded and third-party lens converters which can provide greater wide-angle, telephoto and close-up capabili-ties.

The FZ50 can also record in a RAW format which is supported by Adobe Camera Raw and the free UFRaw plugin for GIMP and many other third-party programs; the camera comes with a special version of Silkypix for conversion. RAW files are recorded in around three seconds with fast SD cards, which is one of the best results among non-Digital SLR cameras; however, there is no RAW buffer as on many digital SLR’s. Unlike its predecessors, the FZ50 does not support TIFF format.

Panasonichttp://www.panasonic.com/be/nl/consumer/cameras-camcorders/lumix-g-dslm.html

• Panasonic FZ50In combination Canon 40D

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Gardenin combination Panasonic FZ

The lens includes a snap-on universal mount suitable for 52mm to 67mm filter size.DCR-250 Super Macro lens obtains the max-imum macro magnification power when set at the most telephoto position of zoom lens. The lens is made of high index optical glass elements which produce rich and razor sharp image.

● The specifications and cosmetic designs may change without a notice.● Macro Conversion lens is a precision optical instrument assembled with the critical alignment, and do not subject it to severe shock and in environment of excessive cold or heat or humidity. Do not look at the sun or a strong light beam direct through the Macro Conversion lens. It may cause a severe damage on human eyes. Important; Do not shoot your camera with the Macro Conversion lens on, in direct sun light on the lens sur-face.● Macro Conversion lens may cause vignetting image( darkening one or more corner of the taken image )when used with wideangle lens.● Screw-thread pitch size is 0.75mm unless specified.●Exposing the conversion lens to a warm atmosphere in an instant way from the cold area may create some dew on and inside the lens. When it happened inside the lens, keep the lens in a dry area till the dew disap-pear before using. Repeating such may leave dirt spot - (mildew) and affect the image.● Please detach the Macro Conversion lens and put the front and rear lens caps on after completing the shooting, before carrying the camera around.●All of Raynox conversion lenses are proudly made in Japan. At our owned manufacturing subsidiary, every stage of production is rigorously checked and tested so that the lens elements compensate effectively for astigmatism, distortion and spherical aberration.... for an excellent image quality.●The lens is neither made for dust-free nor moisture/water-proof.RAYNOX® is the registered trademark of Yoshida Industry Co., Ltd. Tokyo. Other brand names and the models are the trademarks of their manufactures or their subsidiaries and may be registered in certain jurisdictions.

Raynonhttp://www.raynox.co.jp/english/dcr/dcr250/indexdcr250eg.htm

• Raynon DCR 250

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Canon 40D Focal Lenght lens 100 mmSigma 70-200mm F2.8 EX DG Macro HSM

1/250 : shutterf 2.8 : diaphragma

100 : iso

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1/1000 : shutterf 4.5: diaphragma

100 : iso

Canon 40D Focal Lenght lens 100 mmCanon EF 70-200mm f/2.8L IS II USM

1/60 : shutterf 8.0: diaphragma

100 : iso

Canon 40D Focal Lenght lens 100 mmSigma 70-200mm F2.8 EX DG Macro HSM

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Canon 40D Focal Lenght lens 100 mmCanon EF 70-200mm f/2.8L IS II USM

1/30 : shutterf 5.6 : diaphragma

320 : iso

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Canon 40D Focal Lenght lens 140 mmCanon EF 70-200mm f/2.8L IS II USM

1/60 : shutterf 5.6 : diaphragma

400 : iso

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1/640 : shutterf 2.8: diaphragma

100 : iso

Canon 40D Focal Lenght lens 100 mmCanon EF 70-200mm f/2.8L IS II USM

1/320 : shutterf 4.5: diaphragma

800 : iso

Canon 40D Focal Lenght lens 144 mmCanon EF 70-200mm f/2.8L IS II USM

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