InfiniProbe™ TS-160 Universal

The TS-160 developed as an improvement and extension of Infinity’s already successful InfiniProbe Standard C-mount line of video/inspection microscopes. Going beyond the formats and provided magnifications of the Standard line, the TS-160 was envisioned as their ultimate embodiment. And, as a Continuously-focusable Microscope (which also offers macro capabilities), the TS-160 was and still is in every way “just that.”

But, it was not “just that,” as things have turned out. Its unique characteristics were soon realized to be the fulfillment of long hoped-for aspirations of professional cinematography.

It would be easy to say that the TS-160’s cinematographic aspects were intended and considered in its design from the start. Easy to say, but untrue. In many ways, the TS-160’s use for cine came as no less a surprise to its own inventor, H Jay Margolis.

The TS-160’s potential for cine uses can be traced back to when Infinity was contacted by Hollywood film producers originally intending to use it to photograph ants for introducing a forthcoming movie. Quickly, the TS-160 began to be used for special effects by others—still as a convenient cine-microscope. Then, respected cinematographers did the unexpected: they trained the TS-160 to image distant objects. The fact that the TS-160 could always be focused to infinity was thought more a statistic than anything to consider. We were wrong and we underestimated all that it could actually do. The reported imagery obtained from using the TS-160 out to infinity came as nothing less than a revelation. The TS-160 was always considered unique—but as a microscope, after all. Now, it turned out to be even more. When “focused out,” the depth of field was almost perfectly maintained from near to infinity. This has been a long-cherished ideal of filmmakers since early days, most notably the efforts made by Gregg Toland. The TS-160 did this effortlessly.

But there were even more surprises. A single objective, originally designed to function from 0-16x demonstrated a high degree of optically-satisfactory imagery throughout every focus. And, once focused to infinity, little if any more focusing was needed. The TS-160 was a near universal imager.

So, we present to you the TS-160. How best to do that? Perhaps by keeping everything exactly in the order of chronological development, starting with the original text on its close-functioning capabilities, and then relating (and showing) footage of table-top cinematography for a commercial for a coffee-making machine! After all, it seems that the extensive imaging possiblities of the TS-160 are only realized by the possibilities of your own imagination.

For further information on Cinephotomacrography, scroll down to bottom of page …

Cinephotomacrography with the TS-160

Cinephotomacrography: The TS-160 shown with ARRIFLEX PL mount.

“Unbelievable!” was how naturalist and cinematographer Gunnar Olav Nilsen put it when he took his first real-time video with the TS-160. He sent us this single frame taken at 100fps in the field.

The TS-160 has a variable Iris Control. Its use is traditional with the MACRO Objective: The best position for the balance of contrast and resolution is obtained when the first “jump” in contrast is observed. Any position more or less open will either degrade the resolution or provide too much contrast. However, the setting is left to the judgment of the user.

This is not the case when the TS-160 is used with its primary objective: MICRO HM (Highest Magnification). When the Micro HM is used, the TS-160 truly functions in the InfiniProbe configuration. That is, the HM is used to provide an aerial image within the long tube which is focused upon by the top optical system. The role of the Iris is not to control exposure, depth of field or contrast. Its real function is to set the top optical system for its optimum performance, reducing aberrations to the theoretical minimum. This occurs between lines two and three on the Iris’ scale (left of center). A little “weighting” towards the third line will prove useful from time to time. But if the Iris is set at any other position when the Micro HM is used, imagery will be degraded. Of course, the Iris can be used more open or closed for creative or artistic impressions. But if the best HM Objective image is desired, the proper position of the Iris should be set between lines two and three.

InfiniLight™ Adapter Tubes

Presently there are two InfiniLight Tubes with front flanges to fit Canon and Nikon flash units onto the TS-160 Main Body. The InfiniLight combines with the TS-160 to make a very compact yet efficacious macro system with self-contained flash illumination.

The InfiniLight consists of a flanged T tube part that is 12mm thick another 12mm T tube attached to it, thereby making it possible to exchange the supplied T24 tube so that the InfiniLight becomes integral to the TS-160. This also permits custom spacings (we will advise) for use with various cameras whose otherwise obstructive designs (e.g., those with thick built-in handles) to be utilized on the TS-160. As demands arise, we will consider producing other InfiniLight Tubes for makes other than Canon and Nikon.

AND NOW: ROBUSTO—The TS-160 Design Brought to Optimization for Cinematography

The amazing journey of developing the TS-160 for cinematography continues. With input coming from some of the most honored cinematographers in the world, we set about bringing the TS-160 up to even their demanding OPTICAL and MECHANICAL standards. The result was what we have called ROBUSTO—Infinity’s line of optics primarily designed for cinematography.

INTRODUCING THE RESULT: ROBUSTO.

It was already noted at the beginning of this discussion (above) that once the use of the TS-160 for Cine was proposed, we set to work to provide it with objectives more suited to imaging at distances. This realization led to the development of the SFX-series consisting of three objectives: SFX-1, -2 and -3.

But one more step could be taken—and it was. By adding aspherical correction, the performance of the SFX objectives could be fully optimized. The spherical optics of the Standard TS-160 were—and still are—perfectly suited for use with the Macro and Micro HM objectives. In fact, most all sample macro and micro images shown above were taken with a Standard spherically-equipped TS-160. But the performance of the TS-160 with the SFX objectives is best realized when aspherical correction is incorporated in the Main Body. All TS-160 modules bearing the ROBUSTO designation are aspherically equipped.

But better optics for Cine also suggested incorporating better mechanics as well. Clearly, the aspherically-equipped TS-160 deserved being supported by some of the finest, most precise MECHANICS that have already been used on Infinity’s world-class K-series long-distance microscopes. A degree of unsurpassed refinement. In the process, we added high quality all-metal parts that can withstand even the most rigorous day to day usage. And, as if that were not enough, we provided TS-160 ROBUSTO with the POTENTIALS for future accessories and capabilities already planned but yet to be announced.

The TS-160 ROBUSTO handles silkily yet with authority, retaining all the unique features of the original and more. It has the literal robustness to utilize Mirror Diverters or Beamsplitters so that TWO cameras can be mounted on it. And the interchangeability to be used with ALL camera formats used in cinematography. Finally, the mark of a full ROBUSTO system is that 0.8mm pitch gearing is built-in for industry-standard follow-focus motor drives.

But we also found that some Cine applications needed more options than the original and lighter carrying weight of the full ROBUSTO. So, we created a ROBUSTO-Lite model— a “hybrid” of sorts. It is intended for MOST future ROBUSTO accessories and capabilities, yet retains compactness and light weight for macro out in the field. In fact, many will find that having both main body types will prove useful for meeting a slew of assignments.

And, to round out the ROBUSTO concept, we went full circle and added the all-metal gearing to our K1 CentriMax and K2 DistaMax long-distance microscopes— so creating three Infinity optical systems are designed for Cine uses that meet ROBUSTO criteria.