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Monday, February 26, 2018

Found Slides, Shades of Red

Found Slides, Shades of Red 01
Found Slides, Shades of Red 02
Found Slides, Shades of Red 03
Found Slides, Shades of Red 04
Found Slides, Shades of Red 05
Found Slides, vintage color film slides from the '80s, found, scanned, and post-processed for web publishing.
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Continued on with the series of found slides, namely Converted to Black-and-White, The Idyllic Life, Minimalism, and Shades of Blue, captured on Kodachrome and Ektachrome Slide film on the Olympus OM-1n, my only SLR camera then. The images were captured, if I remember correctly, with the Zuiko OM 50mm F1.8 and Sigma 24mm F2.8 XQ Filtermatic.

The slides, +30 years old by now, were scanned on the Canon CanoScan 9000F Mark II Film & Document Scanner and post-processed for finishing touches on Olympus Viewer 3 (OV3)


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Monday, February 19, 2018

Olympus E-P5 + Industar 61 L/Z 50mm 1:2.8, A Close Focus Friend

Olympus E-P5 + Industar 61 L/Z 50mm 1:2.8, A Close Focus Friend 01
Olympus E-P5 + Industar 61 L/Z 50mm 1:2.8, A Close Focus Friend 02
Olympus E-P5 + Industar 61 L/Z 50mm 1:2.8, A Close Focus Friend 03
Olympus E-P5 + Industar 61 L/Z 50mm 1:2.8, A Close Focus Friend 04
Olympus E-P5 + Industar 61 L/Z 50mm 1:2.8, A Close Focus Friend 05
Vintage Lens Test, image making with an Industar 61 L/Z 50mm 1:2.8, across its focus distance.
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The Industar 61 L/Z 50mm 1:2.8, commonly found as standard lenses on FED and Zorki rangefinder cameras, is a 4-element in 3-groups construction and comes with a six-blade iris providing a range of apertures from f/2.8 to f/22. Coming in as a simple, sleek, and sturdy design, the lens is acknowledged as one of the best normal SLR lenses to come out from the FED factory in Kharkiv, Ukraine.

The lens elements are multicoated, images are surprisingly sharp and contrasty, and a focal length of 50mm makes it worth the fit as a standard for normal use.

Industar 61 L/Z 50mm f/2.8, View
Industar 61 L/Z 50mm f/2.8

Though not designated as Macro, the 61 L/Z has a close focus of 30cm, and with its front element located deep in the barrel, you can go without the need for a lens shade, which also makes macro shooting a very functional aspect of the lens.

Olympus Pen E-P5, Industar 61 L/Z 50mm f/2.8
Olympus Pen E-P5, Industar 61 L/Z 50mm f/2.8

On the E-P5, the lens looks slightly longish, extending out 95mm (including the M42/M4/3 lens adapter) from the lens mount face at its closet focal length, it does not add too much to the camera's weight, though. The effective focal length is now 100mm. The focus and aperture rings are easily manipulated with the thumb and index finger of your left hand.



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Monday, February 12, 2018

Minolta Maxxum 7 + Maxxum AF 50mm F1.7, Getting The Feel

Minolta Maxxum 7 + Maxxum AF 50mm F1.7, Getting The Feel 01
Minolta Maxxum 7 + Maxxum AF 50mm F1.7, Getting The Feel 02
Minolta Maxxum 7 + Maxxum AF 50mm F1.7, Getting The Feel 03
Minolta Maxxum 7 + Maxxum AF 50mm F1.7, Getting The Feel 04
Minolta Maxxum 7 + Maxxum AF 50mm F1.7, Getting The Feel 05
Analog Diary, film photography favorites, image making with a Minolta Maxxum 7, getting the feel of the best 35mm SLR film camera of all time.
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While the top-of-the-line Minolta model was the Maxxum 9, the Maxxum 7 does have its ways by being smaller, lighter, and more compact, comes with features that are more appealing to the enthusiast, and has an LCD panel fitted to the film back.

Highlights of the Maxxum 7 include a shutter speed range from 30 seconds to 1/8000 second, plus Bulb, flash sync speed at 1/200th of a second, three metering modes, full PASM shooting modes, exposure compensation, AE lock, continuous shooting at up to four frames per second, unlimited multiple exposures, self-timer, both DX and user-selectable ISO control, and more.

Minolta Maxxum 7, Maxxum AF 50mm f/1.7
Minolta Maxxum 7, Maxxum AF 50mm f/1.7

These were the initial shots when trying the camera out, or, as the title says it, 'Getting The Feel'. As expected, the nominal functions of the Maxxum 7 were easy enough to operate, with the PASM dial, the shutter release, and the control dial for aperture control just within the grasp of your right hand.

Minolta Maxxum 7, Maxxum AF 50mm f/1.7
Minolta Maxxum 7, Maxxum AF 50mm 1:1.7

The camera was easy to get started with, autofocus is fast and accurate, metering seems equally flawless, and as these images show, it looks like the Maxxum AF 50mm F1.7 RS is also equal to the task. Beyond this scratch on the surface, it looks like I still have a long way to go to really understand the full potential of the camera. Let's not wait too long for that.



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Monday, February 5, 2018

Panasonic Lumix DMC-FZ18, Black and White I

Panasonic Lumix DMC-FZ18, Black and White I 01
Panasonic Lumix DMC-FZ18, Black and White I 02
Panasonic Lumix DMC-FZ18, Black and White I 03
Panasonic Lumix DMC-FZ18, Black and White I 04
Panasonic Lumix DMC-FZ18, Black and White I 05
The CCD Sensor, throwback 2009, image making with an 8.3MP CCD Panasonic Lumix DMC-FZ18, post-processed in black and white, Part I.
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The DMC-FZ18 was part of Panasonic's popular range of compact superzoom Lumix cameras. It was introduced barely half a year after the launch of the DMC-FZ8. Being almost identical to the former, the FZ18 came with a bigger zoom, more pixels, and a range of new features.

The camera came with a bigger 18x zoom lens (28-504mm equivalent.), more pixels with 8.3 MP on its 1/2.5-inch sensor, and features that include a dedicated AF/AE button, Face Detection, Intelligent Auto mode with integrated Image Stabilization, Intelligent ISO, Face Detection and Scene Detection modes.

Lumix DMC-FZ18, Front View
Panasonic Lumix DMC FZ18

The Lumix DMC-FZ18 has a form factor that is rather diminutively small. It does, however, look its part as it came fitted with a flower hood. It feels stable, safe, and solid in your hands, and operating the main controls (zoom and shutter release) is equally easy. The excellent handling, balance, and weight, and with the support of image stabilization, make it even more comfortable to use the camera with one hand.

Lumix DMC-FZ18, Back

The top-of-the-hill aura of the camera was, of course, the superb Leica DC Vario-Elmarit f/2.8~4.2 lens, where images remained exceptionally sharp and clear even at the extended zoom limits. Exposure modes available on the camera were Programmed AE with shutter speeds at 1-1/2000 second, Aperture Priority AE / Shutter Priority AE at 8-1/2000 second, Manual at 60-1/2000 second, and Starry Sky Mode at 15, 30, and 60 seconds.



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