Monday, April 16, 2018

Throwback 2009: The Long End

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The Long End

'Images with the long end of the Sony DT 18-70mm f/3.5-5.6 mounted on a full frame SLR film camera'

Continuing from where I left off with the Throwback 2009: Wide-Angle Vignettes, posted previously. These are the images from the long or telephoto end of the lens, which to me, is about as normal as what they are supposed to be. As I mentioned in the previous post, this was a fun session where I had the Sony DT 18-70mm f/3.5-5.6 Zoom mounted on a Maxxum 7000.

The whole idea of mounting a DSLR lens, more so one designed for the ASP-C sensor, was actually an experiment with which you can get interesting results. Lenses designed for ASP-C sensors have a smaller imaging circle, and at the wide end on the lens, the image circle is much smaller than the film frame size, thus the vignette effect, which will dissipate as you zoom in past the 24mm focal length mark on the Sony DT.

Resource Links:
The Minolta a7 (Maxxum 7, Dynax 7) is the Perfect Film SLR for Shooters Who Want it All
Minolta Alpha Sweet 35mm AF Film SLR

Monday, April 9, 2018

Pentax MX: On The Streets

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On The Streets

'Street scenes with the Pentax MX mounted with a SMC Pentax-M 40mm f/2.8'

Continuing from where I left off with the earlier post, Street Squares, taken with the Pentax MX, an all manual camera, mounted with the SMC Pentax-M 40mm f/2.8. The Pentax MX features a fully mechanical construction, including a horizontal travel cloth type mechanical shutter with a shutter speed range from 1 to 1/1000 second, plus B.

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The MX does not have any autofocus or autoexposure modes such as aperture-priority, shutter-speed priority, or any programming functionality. Film ISO speed rating is from 32 to 1600, and the light metering system is the only function that is dependent on batteries. Introduced in 1976, the camera was Pentax's flagship professional SLR until the introduction of the Pentax LX.

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The camera is solidly built, very compact, and is smaller and lighter than the preceding K Series models, which of course, includes the much beloved and highly acknowledged K1000. It was designed as the mechanical twin sister of the remarkably successful entry-level Pentax ME.

Though the unit I was using is slightly battered and looking a bit long in the tooth, the MX is actually a magnificent machine and I will not hesitate to recommend it to anyone who has the opportunity to acquire one. The small and compact form factor is just right for me. All function are working flawlessly despite its years.

Resource Links:
Lomography - Pentax MX - A Small Wonder of the 70's
Pentax MX 35mm SLR Film Camera

Monday, April 2, 2018

Take Five: Low Key Edits

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Low Key Edits

'Creatives with the Minolta MD 28mm f/2.8, a manual focus legacy lens, mounted on the Olympus E-P5'

Minolta MD 28mm f/2.8
My trials at creating low key shots and edits, from images shot with a Minolta MD 28mm f/2.8 mounted on the E-P5 in 1:1 image aspect ratio.

While I am happy enough with the results from the first three images, the final two are just post-processing heavy edit and they are there solely as space fillers.

One advantage I have is the Minolta MD 28mm f/2.8 lens, which is generally considered to be one of Minolta’s best 28 mm, an excellent lens often measured against the MC W.Rokkor-SI 28 mm f/2.5 or the MD 28 mm f/2.

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The lens I use, even though it is a plain MD, is the 7/7 (7 elements in 7 groups) version which reportedly to be a step up from the later 5/5 version, recognized by the serial number which is 80xxxxx for the 7/7 series whilst the 5/5 version is 70xxxxx.
Olympus PEN E-P5, Minolta MD 28mm f/2.8
A little bit more detail is the plastic recess between the name ring and the front element of the lens which is designed with eight tiny steps instead of six.

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Resource Links:
Low Key Photography Tips
Low Key Photography Helpful Tips - iPhotography Course

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