Monday, October 30, 2017

Digital Moments, Access P-MC 35-70mm Macro Zoom

Digital Moments, Access P-MC 35-70mm Macro Zoom 01
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In The Wet, Access P-MC 35-70mm Macro Zoom 05
Olympus E-P5, Access P-MC 35mm-70mm 1:2.5~3.5 Zoom Macro

Digital Moments:

Access P-MC 35-70mm Macro Zoom

'Five frames with the Access P-MC 35-70mm Macro Zoom, on a wet and rainy day'

Solid as a tank, being of all glass and metal construction, the lens weighs in at 460 grams, 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.

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

Physically, the lens is lighter and smaller than the Tamron SP 28-80mm F3.5~4.2 CF Macro, almost the size of the Sigma Zoom-Gamma 21-35mm F3.5~4, both of which I have posted earlier.

The zoom range, however, is only equivalent to the S Zuiko Auto-Zoom 35-70mm F4 (another post here), but with the ability to shoot in macro mode and the ability to let in more light upfront. 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.

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 for 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, while bokeh shows a lot of potentials. 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.


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Monday, October 23, 2017

A Touch of Impressionism, Canon FDn 50mm F1.8

A Touch of Impressionism, Canon FDn 50mm F1.8 01
A Touch of Impressionism, Canon FDn 50mm F1.8 02
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A Touch of Impressionism, Canon FDn 50mm F1.8 05
Canon AE-1 Program, Canon FDn 50mm 1:1.8

Analog Diary:

A Touch of Impressionism, Canon FDn 50mm F1.8

'Five frames with the Canon FD 50mm F1.8, post-processed impressionism with the Canon AE-1 Program'

The Canon FD 50mm F1.8 was not without its own merits. The lens 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.

Canon AE-1 Program, Canon FDn 50mm F1.8

I had the lens mounted on the Canon AE-1 Program and had a few frames left from the session I was using earlier. Took the chances of taking these few handheld night shots here. Well, shooting handheld means whatever that can go wrong will go wrong, you will surely end up with washed-out colors, camera shake, out of focus images, and all.

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 of the Impressionist movement. I might be wrong of course. Nevertheless, I persisted with the doodle and added a few more images for the post this week.

Canon AE-1 Program, Canon FDn 50mm F1.8

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.


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Monday, October 16, 2017

Digital Moments, Olympus S.Zuiko OM 35-70mm F4

Digital Moments, Olympus S.Zuiko OM 35-70mm F4 01
Digital Moments, Olympus S.Zuiko OM 35-70mm F4 02
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Digital Moments, Olympus S.Zuiko OM 35-70mm F4 05

Digital Moments:

Olympus S.Zuiko OM 35-70mm F4

'Down by the lake with the Olympus S.Zuiko OM 35-70mm F4, testing the zoom range and a couple of other shots'

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 F3.5~4 and the Tamron SP 28-80mm F3.5~4.2 CF Macro, I find that the S Zuiko Auto-Zoom 35-70mm F4 that I am doing for this session is no slouch either.

Olympus S.Zuiko OM 35-70mm F4

Sharp as it comes, weighing in around the 380-gram mark, the S.Zuiko OM 35-70mm F4 is a rather bulky affair in its standard Olympus two-touch zoom design with its heavy ridged rubber for the zoom ring, and the standard diamond pattern focus ring. The MC 1:4 version is actually one of four versions of 35-70mm zoom lenses that Olympus produced.

Digital Moments, Olympus S.Zuiko OM 35-70mm F4 06

The earliest version was 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.

Olympus PEN E-P5, Olympus S.Zuiko OM 35-70mm F4

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 fourth and 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 ...

Digital Moments, Olympus S.Zuiko OM 35-70mm F4 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.


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Monday, October 9, 2017

Mobile Photography, Colors of KL Sentral

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Nokia Lumia 720, Google NIK Color Efex Pro 4

Mobile Photography:

Colors of KL Sentral

'Five (+1) frames with the Nokia Lumia 720, the colors of KL Sentral with a double pass on Color Efex Pro'

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.

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

The images here shot on the Lumia 720 one early morning at our local rail hub exchange, KL Sentral, 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.


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Monday, October 2, 2017

Digital Moments, Tamron SP 28-80mm F3.5~4.2 CF Macro

Digital Moments, Tamron SP 28-80mm F3.5~4.2 CF Macro 01
Digital Moments, Tamron SP 28-80mm F3.5~4.2 CF Macro 02
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Digital Moments, Tamron SP 28-80mm F3.5~4.2 CF Macro 05
Olympus Pen E-P5, Tamron SP 28-80mm 1:3.5~4.2 CF Macro

Digital Moments:

Tamron SP 28-80mm F3.5~4.2 CF Macro

'Five frames with the Tamron SP 28-80mm F3.5~4.2 CF Macro, catching the chequered flag at the RC boat derby'

Compared to the Sigma Zoom-Gamma 21-35mm F3.5~4, 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 F3.5~4.2 CF Macro, weighing in at a hefty 480 grams, is a bit of a monster and a heavyweight.

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

On the 2x crop-sensor Olympus E-P5, the lens is now short to medium telephoto-zoom with an equivalent focal length of 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 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 at the image) being the connection between the E-P5 body and the MF-2 adapter.

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

Using the camera on a tripod supported only at the base plate of the camera is a strictly no-go setup, as the pivotal weight upfront might be too heavy for the tripod socket on the base plate to handle. For handheld shooting, you need to be sort of a contortionist to be able to hold the camera 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.


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