Monday, May 20, 2019

Mobile Photography, Extended Exposure Images

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Mobile Photography, Extended Exposure Images

'Taking the cue with the camera phone held steady as can be for extended exposure image captures'

I do a variety of photography genres for this blog using an assortment of digital and film cameras and lenses that I have in my collection. The range of paraphernalia includes, interestingly, a circa 2011 candy-bar Nokia Asha 300 feature phone which came with a fixed-focus 5MP rear-facing camera which is a kind of favorite of mine right now.

Nokia Asha 300
What I like most about the 5MP camera on the Nokia 300 are images that are tone-perfect bright daylight images that are sharp, crisp and clear which never fails to impress.

Half of the anticipation of using the camera comes from the fact that the best way to use the camera is to shoot on a guesstimate arms-away image framing stance.

The Nokia 300 has a 2.4-inch screen which you can see hardly see from in bright outside light, which this reduces the ability to frame the image on the screen to almost zero. There is nothing you can do to adjust any settings on the camera either. The best you can do is to hold the camera straight ahead, above your head, or any other way you want to hold it and press the shutter away.

As I carry the camera around almost everywhere I go, the urge to capture images that are constant, lingering, and sometimes repetitive especially for low-light or night shot. For these shots, I try to hold the camera steady for a while longer so that the extended exposure time the camera is capable off is fully utilized.

No, I won't even term these images as long-exposure shots, even if they really are. To me, these are just images from an extended exposure photography outing with a handheld candy-bar feature phone camera, the Nokia Asha 300. Images were post-processed on Olympus Workspace and print sharpened on Google NIK Sharpener Pro3.


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Monday, May 13, 2019

Analog Diary, Fuji Cardia Travel Mini Dual-P

Analog Diary, Fuji Cardia Travel Mini Dual-P
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Analog Diary, Fuji Cardia Travel Mini Dual-P

'When it comes to images and features, the Fuji Cardia Travel Mini Dual-P is not as petite as it seems to be'

The Fuji Cardia Travel Mini Dual-P, taking the claim that it was the smallest and lightest full or panorama frame 35mm AF camera when it was first launched, is not actually that petite as it seems. It is big when it comes to features and functionalities.

First launched in 1990, the Cardia Travel Mini Dual-P is part of the very successful Cardia series of cameras manufactured by Fujifilm.

The same model was marketed as Discovery Mini Dual Date in the USA and it was not fitted with the panorama feature.

The Cardia Travel Mini Dual P is a dual lens camera. It comes fitted with a 28/45mm F3.5/6.6 Fujinon lens system. The 28mm wide-angle end will bring you right into places and city streets, among the crowd and tall buildings, and the crisscrosses of light and shadows.

The 45mm standard is equally sharp and will take care of people and portraits, group portraits, and photo features. The changeover from one focal length to the other is by a switch on the top plane of the camera, and this is reflected in the viewfinder as well.


Film loading is drop-in, where the back is hinged to open just wide enough for the film canister and film tab to be slid into the opening. Film transport is pre-wind, and the exposed frames are wound back into the film canister as the shots are taken.

A couple of idiosyncrasies you have to adapt to is the panorama switch is located within the film box area of the camera, meaning that panorama is pre-set for the whole roll of film. The camera needs two batteries to run, a CR123A in the battery chamber and a CR2025 3-volt button cell located under the metal film leader inside of the film back.

The Fuji Cardia Travel Mini Dual-P also has an auto power-off switch which turns the camera off after 3 minutes of inactivity.


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Monday, May 6, 2019

Analog Diary, Sigma Zoom Gamma 21-35mm F3.5~4

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Analog Diary, Sigma Zoom Gamma 21-35mm F3.5~4

'Five frames with the super wide-angle Sigma Zoom Gamma 21-35mm F3.5~4 lens.'

The Sigma Zoom Gamma 21-35mm F3.5~4 is quite a remarkable lens, with good image quality, and a zoom range that is hard to replicate or replace. The lens was launched by Sigma in 1979, as the world's first wide-angle zoom lens.

Sigma Zoom Gamma 21-35mm F3.5~4
The lens is a solid all-metal and glass construction, with 12 elements in 12 groups, 105mm in length, weighs 450 grams, comes with a non-rotating front element, takes 67mm filters, and has a built-in floral pattern hood.

The compact form factor is easy and comfortable in the hands, and on the Olympus OM-2S (the unit I was using came with an Olympus OM-mount), the camera and lens combo was a perfect fit in terms of weight and balance.

Focus, zoom, and aperture rings are conveniently located for fast handling. Focus throw is a short 90 degrees. Talk about built quality, the rings on my unit are still super smooth as if it was still new.

I also did an earlier post with the lens mounted on the digital Pen E-P5, which includes images shot at various focal range equivalents, but felt that the equation is not complete without a similar post with the lens mounted on what it was originally designed and produced for, an SLR film camera.

Olympus OM-2S, Sigma Zoom Gamma 21-35mm F3.5~4

This session here was down at the park, on a hazy day, with shots mainly of the landscape. The images, as you can see, turned out to be sharp, clear, and was better than expected. They were shot on a roll of expired Fujifilm Superia 200, post-processed on Olympus Viewer 3 (OV3) and print sharpened on Google NIK Sharpener Pro3.

EndNote: For those who are interested in a bit of technicality and an approach towards rectifying the 'fix' of the infinity focus problem of the Sigma Gamma, please visit the site here.


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