Monday, December 18, 2017

Holga 120-Pan: Trying To Get It Right II

Holga 120-Pan: Trying To Get It Right II 01
Holga 120-Pan: Trying To Get It Right II 02
Holga 120-Pan: Trying To Get It Right II 03
Holga 120-Pan

Trying To Get It Right - Part II

Holga 120-Pan
'Analog diary, still trying to get it right with panoramic shots on the Holga 120-Pan'

Well, here I am, back again with the Holga 120-Pan, loaded with a roll of expired Fujifilm Pro 160-S, at the park right near to where I live, as I have been to on various previous photo shoot occasions.

This time it was another tryout, trying to get it right, with the Holga 120-Pan. As my previous outing with the camera did not go too well, I was hoping that this one would be better. Hah! The preparation was short was straightforward, preload the film before you go, bring along the old beat-up tripod along to stand the camera on, and remember that you have only six shots on a 120 roll.

Holga 120-Pan: Trying To Get It Right II 04

Holga 120-Pan
As it turns out, this session did not go too well either. First, it was a bit of overzealousness on my part with the film forward wind which makes me miss the Frame 1 indicator, meaning that the frame is wasted, as I had to start with Frame 2.

The first shot is again a disaster as I had the shutter set to B (Bulb) mode while toying with the camera earlier. Frame 2 and Frame 3 wasted. That leaves with only nine frames to work with, four and a half shots on the 120-Pan from which I managed to get the five images posted here, with the image from the tail end of the film roll (above) cropped to match the image aspect ratio of the others.

Holga 120-Pan: Trying To Get It Right II 05

Holga 120-Pan: Trying To Get It Right II
Images, of course, were grossly underexposed, as you can see from the small insert here.

Post-processing these images on Olympus Viewer 3 (OV3) includes the use of Tone Curve, Brightness & Contrast, Gamma, Color Balance, Hue & Saturation, Sharpness & Blur, Unsharp Mask, and Noise Reduction, with variation in Brightness & Contrast for individual images.
Holga 120-Pan

End of session. As far as my personal progress is concerned, it looks like I still have a long way to go, maybe a couple more rolls of film for me to get the better of the machine, and another couple to get the real juice going. Nevertheless, my own impression is that these are beautiful images, pretty sharp for a plastic lens, with colors that are dreamlike and soft, and addictive.

Resource Links:
What is a panoramic photography?
Discover the world of Panoramic cameras: The wider the better - Amateur Photographer

Monday, December 11, 2017

Nikkor 35mm f/2.8 Pre-Ai: Digital Moments

Nikkor 35mm f/2.8 Pre-Ai: Digital Moments 01
Nikkor 35mm f/2.8 Pre-Ai: Digital Moments 02
Nikkor 35mm f/2.8 Pre-Ai: Digital Moments 03
Olympus E-P5, Nikkor 35mm f/2.8 Pre-Ai

Nikkor 35mm f/2.8 Pre-Ai

Nikkor Pre-Ai 35mm f/2.8
'A quick take session with a Nikkor 35mm f/2.8 Pre-Ai lens adapted to the Olympus E-P5'

The Pre-Ai Nikon Nikkor 35mm f/2.8, an improved version of the Nikkor S Auto model available for many years from Nikon, was first introduced in 1959.

The version is more compact than its predecessor, extending only 44.5mm out when mounted on the camera body, and comes with NIC (Nikon Integrated Coating) on all air to glass surfaces which contributed to the improved performance, in addition to reduced flare and ghost, and improved color rendition.

Nikkor 35mm f/2.8 Pre-Ai: Digital Moments 04

Nikkor Pre-Ai 35mm f/2.8
From its basic 6 elements in 6 groups construction, the lens evolved through both multiple optical and cosmetic variations and ends with a 5 element optical design. The Ai version was made from 1979 through 1981, while the Ai-S was made available from 1989 through to 2005.

The Pre-Ai version of the Nikkor 35mm f/2.8, which I used for this quick take session, is easily identified by the absence of the second set of tiny aperture numbers on the aperture ring.

These type of lenses were manufactured for use on Nikon cameras made before 1977, where the lens has to be 'indexed' to the camera's meter by rotating the lens to its largest aperture and back when the lens is mounted. This is done so that the meter is properly calibrated when mounted, forget to do this and your exposures could be way off.

Nikkor 35mm f/2.8 Pre-Ai: Digital Moments 05

The lens is a nice fit on the Olympus Pen E-P5, giving my smallish hands just the right leverage and finger distance for both aperture and focusing control. Focusing was, of course, soft and smooth, as smooth as a Nikkor should be, while aperture clicks were just right, not that I used much of it. Most of my quick take images were taken at full aperture and almost at the lens shortest focusing distance.

Olympus E-P5, Nikkor Pre-Ai 35mm f/2.8

Sharp as it is, there is no real worry about edge fallout and other things related when the lens is fitted to the 2x crop sensor E-P5. Doing the images in black-and-white also removes the need for me to delve into coma, aberrations or color fringing as well.

My short stint with the lens among the potted plants and the laundry line rewarded me with these images. Shot on the square, post-processed on Olympus Viewer 3 (OV3) for black-and-white conversion, with final print sharpening done on Google NIK Sharpener Pro 3.

Resource Links:
Nikkor 35mm f/2.8 Non-AI Test
Manual Focus Nikkor 35mm f/2.8s wideangle lens

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