Monday, June 26, 2017

Analog Diary: Shades Of The Green

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Konica C35 Automatic, Konica Hexanon f/2.8 38mm

Shades Of The Green

Konica C35 Automatic
'The shades of the green on a walk in the park with the Konica C35 Automatic'

We are lucky enough to have an easy access to a park that fringes almost to our doorstep, early morning walks, and brisk afternoon strolls are yours to pick and choose. I do enjoy these walks on occasion with camera in hand, and for this session, a Konica C35 Automatic rangefinder on a roll of Fujifilm Superia 200.

It was a beautiful day, towards late afternoon, the sun was still bright and shining, and the shots follows closely the path I took around the lake.

Shades Of The Green 05

Konica C35 Automatic
The camera itself (at least mine is) is a jewel to use. A three-quarter turn on the film forward crank advances the film frame, half press the shutter release and you lock in the exposure, line up the green distance mark to the indicator line on top of the lens front to set the hyperfocal distance, frame and shoot away just like a simple point-and-shoot, as how all the shots displayed here are taken.

The sound of the shutter is very assuring as well, varying itself to the coupled aperture/shutter indicator needle to know that the exposure should be in the region where it should be.

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The viewfinder is superbly clean and clear, with the frame line clearly delineated, so as the rangefinder parallax window. Loading and unloading the film cassette is standard as most other film cameras of that era. I had an LR44 1.5V. battery installed with the ASA film speed set to the same value, meaning that I did not bother about EV compensation with the higher voltage battery.

Konica C35 Automatic

The images, as posted here, was post processed on Olympus Viewer 3 (OV3) and tweaked with edits to Auto Tone Correction, Brightness & Contrast, Hue & Saturation, Unsharp Mask, Noise Reduction, and was cropped to the 16:9 aspect ratio.

Resource Links:
Konica C35 film camera review |
Favourite Cameras: Konica C35 Automatic

Monday, June 19, 2017

Analog Diary: Squaring the 28mm

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Olympus XA 4, Zuiko f/3.5 28mm

Squaring the 28mm

Olympus XA4 Macro
'Squaring wide-angle images of the Olympus XA 4 to a square format'

The Ramadan Bazaar is in full swing currently and I have taken this opportunity to do a bit of a hipster style street shooting with a couple of cameras that I have. This time around it was the Olympus XA 4, with its f/3.5 28mm lens, and a roll of Fujifilm Superia 200.

Much like the first roll of shots I did with the Olympus XA 4, the results of this shoot is still far away from showing me being a competent street shooter - images captured are still unfocused, unframed, and chaotic in terms of holding the camera at the level.

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Although the 28mm is highly recommended as the best focal length for street photography, getting the best out of it needs more than just shooting it on a day out or on just a roll of film. Looks like a 28mm lens is quite a hard beast to handle on the streets and learning to do well with it is still a long way to go for me.

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Cropping the images back to the square, as I have done here, overcame a few shortcomings, where I manage to save a few of the shots as you can from the post here. Aside from keeping the image simple within the square, with the focus on the subject, cropping helps remove distracting elements from within the image frame. Doing it in black-and-white adds to the timelessness of the image, while keeping away the distraction of colors while bringing back the human element.

Resource Links:
28mm - The Perfect Lens for Street Photography?
Why you need to have a 28mm lens for Street Photography | Alex Coghe Editor and Photojournalist

Monday, June 12, 2017

Half-Frame Portrait Format: Vantage Points, Olympus Pen EF

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Olympus Pen EF, D.Zuiko f/3.5 28mm

Vantage Points

Olympus Pen EF
'Getting to know the 3:4 image aspect ratio of half-frame portrait frame cameras - Part IV'

Changing the vantage point of where you are taking the shot from, and the visual level you are at, is not only a great way to enhance a composition, it might make your photograph stand out from all of the other eye-level views made of a similar subject.

When you change the vantage point for a shot, for example, in the masthead image above, from an eye-level to a knee-level shot, you are literally bringing in leading lines from almost where you are, across the lake to the lung of green, which is back-dropped by giant monstrosities of concrete. The image, however, just misses out in not having a figure or two within its composition.

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Vantage Point In Half-Frame Portrait Format 05

On the subject of the half-frame portrait format, with the vision constricted to that of a vertical, viewpoints can play a big part in giving impact to images. And of course, with the half-frame portrait frame shooter, where the camera is held in the normal horizontal position for portrait framing, changing your viewpoints to create more linearity or height in your perspectives is much easier than you think. Have a look at the images posted for comparison of image impacts taken from differing viewpoints.

Resource Links: Viewpoint and Perspective in Photographic Composition
Varying the Viewpoint - photographic composition

Monday, June 5, 2017

Street Photography: Tone Curve Abstracts

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Olympus XA 1, D.Zuiko 35mm f/4

Tone Curve Abstracts

Olympus XA 1
'Analog diary, looking at street photography post-processed in tone curve abstracts'

I did a hipster style walk-through of a public place recently, taking snapshots of the people and activity with the Olympus XA 1 held at hip level, with image framing done visually without looking through the camera's viewfinder.

Resulting images are quite interesting and diversified. While some are sharp and properly framed, most others turned out unframed, unfocused, and blurred by camera and body shake. Getting these images together into a visual storyline was done with the tone curve tool in post-processing.

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The Tone Curve tool, as available on Olympus Viewer 3 (OV3) as well as most image editors, is a graphical representation of the tonal range of your image and the tool allows you to manipulate the brightness and contrast of the RGB color gamut of the image or the individual red, green and blue channels by picking the color separately from the drop-down list.

The tonal range of an image can be changed by first placing cursor points on the diagonal representation of the image and then by dragging the points up or down from its original location. The line can be dragged at multiple points along the line for varying results, and curves controlled by using a number of anchor points placed along the line.

Resource Links:
An Introduction to Abstract Photography
How to Shoot Abstract Photography

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