Monday, October 30, 2017

Digital Moments: Access P-MC 35-70mm f/2.5~3.5 Macro Zoom

Access P-MC 35mm-70mm 1:2.5~3.5 Macro Zoom 01
Access P-MC 35mm-70mm 1:2.5~3.5 Macro Zoom 02
Access P-MC 35-70mm 1:2.5~3.5 Macro Zoom 03
Olympus E-P5, Access P-MC 35mm-70mm 1:2.5~3.5 Zoom Macro

Access P-MC 35-70mm f/2.5~3.5 Zoom Macro

Access P-MC 35-70mm 1:2.5~3.5 Macro Zoom
'A quick take session with the Access P-MC 35-70mm f/2.5~3.5 Macro Zoom adapted to the E-P5'

The lens came in the mail a couple of days ago, attached to an Olympus OM body which was what I was really after. The lens looks interesting enough for me to do a quick search for it on the Internet.

As always, online reviews are a mixture of pros and cons, with some going for the good virtues of the lens while other go for the opposite. While one feigns surprise at the availability of the brand, it is probably safe to say that the lens is the same as the Soligor MC Zoom Auto f/2.5 which was made in Japan by Kobori.

Access P-MC 35-70mm 1:2.5~3.5 Macro Zoom 04

Access P-MC 35-70mm 1:2.5~3.5 Macro Zoom
Solid as a tank, being of all glass and metal construction, the lens weighs in at 460 gram, and comes with an array of four rings for manning (from back to front) Aperture, Macro, Zoom, and Focus functions. The filter thread is 58mm.

Physically, the lens is lighter and smaller than the Tamron SP 28-80mm f/3.5~4.2 CF Macro, almost the size of the Sigma Zoom-Gamma 21-35mm f/3.5~4, both of which I have posted earlier. The zoom range, however, is only equivalent to the S Zuiko Auto-Zoom 35-70mm f/4 (another post here), but with the ability to shoot in macro mode and the ability to let in more light up front.

The widest aperture of 1:2.5 can be used on all focal lengths except when in full zoom at 70mm, where the aperture jumps to 1:3.5 at its widest.

Access P-MC 35-70mm 1:2.5~3.5 Macro Zoom 05

Using the Macro function is more manual as it requires you to first disengage a locking pin before you can turn the ring to get the macro mode going. Shooting aperture priority means that I do away with the need another set of fingers on the aperture ring.

Olympus E-P5, Access P-MC 35-70mm 1:2.5~3.5 Macro Zoom

I was actually quite pleased with how these test images turned out. Colors are vivid, contrast is good, and bokeh looks potentially good. Sharpness, however, is just not here, while precise focusing is made more difficult with an extremely short focus throw of less than a quarter turn from the closest focusing distance of 0.7m to infinity.


Resource Links:
Battle of the 35-70s: Olymps vs Olympus vs Minolta vs Access: Sony Alpha / Nex E-mount (APS-C) Talk Forum: Digital Photography Review
Hin's Photo Corner

Monday, October 23, 2017

Analog Diary: A Touch of Impressionism

Analog Diary: A Touch of Impressionism 01
Analog Diary: A Touch of Impressionism 02
Analog Diary: A Touch of Impressionism 03
Canon AE-1 Program, Canon FDn 50mm 1:1.8

A Touch Of Impressionism

Canon AE-1 Program, Canon FDn 50mm 1:1.8
'Creative night shots post-processed with images form Canon AE-1 Program + Canon FDn 50mm 1:1.8'

I still had a few shots left on the roll of film that I use for the 'A Sampling Of Images' with the Canon AE-1 Program and Canon FDN 50mm 1:1.8 lens and took the opportunity to finish the roll with a handful of night shots.

Shooting handheld means whatever that can go wrong will go wrong - washed out colors, camera shake, out of focus setting, and all that you want to relate to failed images.

Rather than letting the shots go to waste, I took the images and went for a doodle with the Tone Curve tool on the image and post-processing editor, Olympus Viewer 3. The result was an interesting modernist art effect close enough to what I understand as being part Impressionism. Of course, I might be wrong. Nevertheless, I did a few more and ended up with this weeks post.

Analog Diary: A Touch of Impressionism 04

Introduced as a successor to the Canon AE-1 (1976), the Canon AE-1 Program (1981) is one of the most popular cameras of all time.

The 35mm SLR saw the introduction of the Program AE mode, which enables both the shutter speed and aperture automatically by the camera with the metering is slightly biased towards the shutter speed setting.

Analog Diary: A Touch of Impressionism 05

The Canon FDn 50mm f/1.8 too has its own merits. It was the lightest, and the cheapest, of all Canon FD interchangeable lenses, and the only lens in the Canon FDn series that came with only the SC (Spectra Coating) coating as opposed to the others which came with SSC coating. Handling was superb and its solid reputation for stable picture quality and sharp, crisp pictures has always been acknowledged.


From Wikipedia: 'Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.'


Resource Links:
Vincent's Life and Work - Van Gogh Museum
Van Gogh and the Seasons

Monday, October 16, 2017

Digital Moments: S Zuiko MC Auto-Zoom 35-70mm f/4

S Zuiko MC Auto-Zoom 35-70mm 1:4 01
S Zuiko MC Auto-Zoom 35-70mm 1:4 02
S Zuiko MC Auto-Zoom 35-70mm 1:4 03
S Zuiko MC Auto-Zoom 35-70mm 1:4 04
Olympus PEN E-P5, S Zuiko MC Auto-Zoom 35-70mm 1:4

S Zuiko Auto-Zoom 35-70mm f/4

S Zuiko MC Auto-Zoom 35-70mm 1:4
'A quick take session with the S Zuiko MC Auto-Zoom 35-70mm f/4 adapted to the Olympus E-P5'

Of the three manual focus short to medium zoom lenses that I have recently featured in these digital moments sessions, previously the Sigma Zoom-Gamma 21-35mm 1:3.5~4 and the Tamron SP 28-80mm 1:3.5~4.2 CF Macro, I find that the S Zuiko Auto-Zoom 35-70mm 1:4 that I am doing for this session is no slouch either.

Sharp as it comes, weighing in around the 380-gram mark, it is lighter than the Tamron SP, not as compact as the Sigma Zoom-Gamma, and does look rather bulky in its standard Olympus two-touch zoom design - clad in heavy ridged rubber for the zoom ring, and the standard diamond pattern focus ring.

S Zuiko MC Auto-Zoom 35-70mm 1:4 05

S Zuiko MC Auto-Zoom 35-70mm 1:4
The MC 1:4 version is actually one of four versions of 35-70mm zoom lenses that Olympus produced. The earliest version was a slightly bulkier but said to a sharper 35-70/3.6 model, this one does not carry the S designation. The second version, which was sold alongside the 35-70/3.6 is what this post is all about. It was the first model to carry the S designation, which is supposed to imply a 'Simplified' version, probably produced to compete directly with lower cost third party lenses which were also hitting the market then.

The third version is the 35-70/3.5~4.5, a very compact and desirable 35-70mm to carry around with for traveling and shooting on location. The final version is a 35-70/3.5-4.8 budget model which was sold as a package with the Cosina-built OM2000 SLR. Ultimately, however, if you are collecting and if you are going for overall optical performance, then the 35-70/3.6 is the one to go for ...

S Zuiko MC Auto-Zoom 35-70mm 1:4 06

Olympus PEN E-P5, S Zuiko MC Auto-Zoom 35-70mm 1:4
Images shown here are shot in the vicinity of the park near where I am staying, which is, more often than not, is becoming the location many of my quick take and analog diary images.

Shot in RAW on the 2x crop sensor Olympus E-P5, the images are at equivalent focal lengths equivalent equal of 70, 100, and 140mm. Post-processing was done on Olympus Viewer 3 (OV3) and final print sharpening on Google NIK Sharpener Pro 3.

S Zuiko MC Auto-Zoom 35-70mm 1:4 07

The first four of the six images, which have been cropped to 16:9 image aspect, are actually upside down reflections shot of the water surface. The last two are 4:3 full crops. All shots are taken at f/5.6.


Resource Links:
Quick Take: Sigma Zoom-Gamma 21-35mm 1:3.5~4 Quick Take: Tamron SP 28-80mm 1:3.5~4.2 CF Macro

Monday, October 9, 2017

Mobile Photography: Color Saturates

Mobile Photography: Color Saturates 01
Mobile Photography: Color Saturates 02
Mobile Photography: Color Saturates 03
Mobile Photography: Color Saturates 04
Nokia Lumia 720, Google NIK Color Efex Pro 4

Color Saturates

Mobile Photography: Color Saturates
Color rendition as shot on the Lumia 720
'Trying out Google NIK Color Efex Pro 4 for extreme color saturation'

As mentioned in the article 'Understanding Color in Photography,' using colors appropriately in photography does add a dynamic element to your images. This may result in compositions that are pleasing to the eye while adding to the desired attraction to the image, and also giving the 'oomph' to your creative edge.

The opposite, of course, might result otherwise. Bold and advancing colors at the front end of the spectrum can also be used as the dominant form or as elements of isolation of the composition, while blues and greens, from the other end of the spectrum, blends rather well as receding background elements.

Mobile Photography: Color Saturates 05

The use of post-processing tools, such as Brightness & Contrast, Hue & Saturation, Color Filters, Luminosity, Vibrance and such, available on most Image Processing Softwares may also be of help to accentuate your image.

With plenty of guides and tutorials available on the internet, there is no shortage of tricks and techniques on how to develop your images. The choice to go professional, with subscription software, or amateur, with free downloads, is yours to pick and choose.

Mobile Photography: Color Saturates 06

The images here, shot on the Lumia 720 one early morning at our local rail hub exchange, were rather bland and looked washed-out, lacking the luster and the ambiance of the place. The option I adopted was to pass each image twice (2x) through Google NIK Color Efex Pro 4 with a very high setting for both Saturation and Perceptual Saturation. The results, as you can see, are rather astonishing in the ability of the app to enhance and saturate the colors as absorbed by the camera sensor.


Resource Links:
Community Spotlight: You Should Study Color Theory
10 Amazing Photography Genres that Photographers Would Love - WebDesignColumn

Monday, October 2, 2017

Digital Moments: Tamron SP 28-80mm f/3.5~4.2 CF Macro

Tamron SP 28-80mm 1:3.5~4.2 CF Macro 01
Tamron SP 28-80mm 1:3.5~4.2 CF Macro 02
Tamron SP 28-80mm 1:3.5~4.2 CF Macro 03
Tamron SP 28-80mm 1:3.5~4.2 CF Macro 04
Olympus Pen E-P5, Tamron SP 28-80mm 1:3.5~4.2 CF Macro

Tamron SP 28-80mm f/3.5~4.2 CF Macro

Tamron SP 28-80mm 1:3.5~4.2 CF Macro
'A quick take session with the Tamron SP 28-80mm f/3.5~4.2 CF Macro adapted to the E-P5'

Compared to the Sigma Zoom-Gamma 21-35mm f/3.5~4, which I used to start off the Digital Moments series with a collection of wide angle and standard zooms adapted to the Olympus E-P5, the Tamron SP 28-80mm f/3.5~4.2 CF Macro, weighing in at a hefty 480 grams, is a bit of a monster and a heavyweight, but is available on the auction sites for a fairly low price. The lens with its own accolades and disapprovals on the reviews.

That aside, the unit that I have come attached to a super sterling Olympus OM-1n, and at the offer price of a dollar less than USD 50 on the day it was listed, it was an offer I took up without a second to lose. Did all the necessary tidings, and the camera and lens arrived on my doorstep within the week.

Tamron SP 28-80mm 1:3.5~4.2 CF Macro 05

Tamron SP 28-80mm 1:3.5~4.2 CF Macro
On the 2x crop-sensor Olympus E-P5, the lens is now is a short to medium tele-zoom with equivalent focal lengths from 56mm to 160mm. This should do well if you take into account that favorite prime focal lengths, especially the 55, 85, 100 and 135mm's are all incorporated into this lens. An 85mm prime, as you already know, is always the favorite for portrait photography, while the 135mm do as well for catwalk models.

The one thing that you lose out within this comparison is the light gathering capacity of the lens. Operating at the maximum aperture of 1:3.5~4, you will lose between one to two aperture stops when compared to 1:2.8 apertured primes.

The other concern is the weight and the balance of the lens when attached to the E-P5 vis the Olympus MF-2 Adapter. The whole extension is now 120mm long, very heavy upfront, with the most fragile point (you can tell by looking the image) being the connection between the E-P5 body and the MF-2 adapter.

Tamron SP 28-80mm 1:3.5~4.2 CF Macro 06

Using the camera on a tripod with such a configuration will definitely be a strict no-no, and for handheld shooting you need to be sort of a contortionist to be able to hold the camera reverse tripod like in the cradle of your palm, while using your index finger and the thumb for focusing, and your middle finger and the thumb for zooming.

The image of the Adenium obesum, above, is about the sharpest yet that I can achieve with the Tamron SP. The shot was made against a bland sky, aperture setting on the lens was preset to 1:8, and the camera recorded a shutter speed of 1/500 at ISO 200 with exposure compensation set to +1.

Olympus PEN E-P5, Tamron SP 28-80mm 1:3.5~4.2 CF Macro

Post-process edits on Olympus Viewer 3 (OV3) include Auto Tone Correction, Crop, Tone Curve, Brightness & Contrast, and Hue & Saturation. Final print sharpening, the same as with the rest of the images, was done on Google NIK Sharpener Pro 3.

The rest of the images, top-down, are action shots on a local RC boat derby day at a nearby park, showing images from widest and the shortest ends of the tele, cropped action images of the boats flying across the surface of the lake, and one of the marshalls retrieving a boat that has fallen prey to unforeseen circumstances.


Resource Links:
Tamron Adaptall-2 SP 28-80mm f/3.5-4.2 (27A)
Tamron SP 28-80mm (27A)

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