Monday, August 26, 2019

The Street Scene, Sigma Zoom AF 21-35mm F3.5-4.2

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Canon EOS 700 QD, Sigma Zoom AF 21-35mm F3.5-4.2

Analog Diary:

The Street Scene, Sigma Zoom AF 21-35mm F3.5-4.2

'Five frames on the street scene with the EF-mount Sigma Zoom AF 21-35mm F3.5-4.2'

Canon EOS 700QD, Sigma Zoom AF 21-35mm F3.5-4.2
My guess on the best part of having an autofocus super-wide-angle fitted to your AE (auto-exposure) SLR film camera, in this case, a Sigma Zoom AF 21-35mm F3.5-4.2 mounted on a Canon EOS 700 QD, is the fact that you can use it just like a plain and simple point-and-shoot camera, or in whatever form or style you fancy.

This includes holding up the camera to your eye for proper framing, hipster style, or by holding the camera away at arm's length while framing the image guesstimate style.

While you might end up having an interesting composition with the last method, it might not work at all either.

The Sigma Zoom AF 21-35mm F3.5-4.2, launched in 1985, was a carryover from the highly acknowledged MF version of the world's wide-angle zoom, Sigma Zoom-Gamma 21-35mm F3.5~4 (1979), back when no one was sure if such a lens is possible.

While the camera and lens combo might be a bit of bulk, with a combined weight reaching nearly 1.4kg, it was, nevertheless, fun to use. All you need to do is to set the lens to the focal length you want to shoot with, and off you go. Everything else is automatic, even the film rewind at the end of the roll.

Canon EOS 700QD, Sigma Zoom AF 21-35mm F3.5-4.2

Just as well, the Canon EOS 700QD is one of the cameras that comes with a Reversible Selector Dial. Do this by unscrewing the knurled screw of the selector dial, flip the dial over, and you will have access the camera's shutter priority mode.


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Monday, August 19, 2019

A Touch of the Arts, Pentax Espio AF Zoom

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Pentax Espio AF Zoom

Analog Diary:

A Touch of the Arts, Pentax Espio AF Zoom

'Five frames, post-processed underexposed images salvaged from a shoot with the Pentax Espio AF Zoom'


I was not aware that the Pentax Espio AF Zoom I was using has a fault with its film frame counter, which reverts itself back to 0 after the frame number reached 17. As I was using this camera intermittently, I wasn't sure when this happened was not sure either whether the reversion was for the film roll as well.

Pentax Espio AF Zoom
If the reversion was for the film roll as well, then I would still have a full roll of 36 exposures to shoot with, otherwise it will just be the leftover 18 frames or so, and this would mean that that the first 17 or so images will be double exposed while the rest will be single shots.

That was the situation I was in. To salvage the situation, I took the decision to sequence off the frames with underexposed shots around the space I was in, hoping that if the frames were double exposures, I would probably end up with at least a couple on interesting images.

Half-expectedly, the Espio AF went into auto rewind after the last frame on the film roll was shot, with the film frame counter was showing that I was only halfway through the roll. It was clear then that it was only the film frame counter that was resetting itself, while the rest of the camera is fully functional.

Pentax Espio AF Zoom

The images from that part of the roll were mostly underexposed. I did manage, however, to salvage a string of shots which turned out well enough when enhanced through the post-processor to give me these art-touched images, a job well done.


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Monday, August 12, 2019

Reverse Ring Macro Photography, Starting Out

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Olympus OM-2S, Super-Takumar 50mm F1.8

Digital Moments:

Reverse Ring Macro Photography, Starting Out

'Five frames with the Olympus E-P5 and Super-Takumar 55mm F1.8, testing out  a reverse ring macro setup'

An inexpensive way to getting close up macro images without the need to use macro lenses is to do the reverse lens macro photography technique.

Reverse Ring Macros, Camera Setup
The technique calls for the lens, a manual focus prime lens with an aperture ring control is recommended, to be mounted on your camera in reverse, i.e. with the front end facing inward towards the body on your camera.

These lenses are normally mounted via an adapter that has your camera's lens mount on one side, and a screw thread equal to the diameter of the lens on the opposite side.

With the setup, however, there are no mechanical or electrical linkages between the lens and camera. The lens is an independent unit functioning on its own. This means that while you have access to the shutter speed of the camera, aperture control is managed by the stopped-down method.

For my learning setup, I am using a Super-Takumar 55mm F1.8 lens, mounted to an Olympus OM/49mm reverse adapter, which is mounted to Olympus OM Adapter MF-2 before it is fitted the Olympus E-P5 body. It may sound a bit long-winded, but the constraint of what you have in terms of the bit and pieces required for the setup, it does make sense and it works.

Olympus E-P5, Olympus OM Adapter MF-2, Olympus OM/49mm Reverse Ring, Super Takumar 55mm F1.8

That's it for starting out images as posted, which were shot handheld. A fair amount of post-processing and print sharpening edits were needed to get them to where they are, with the main concern being the light loss with smaller aperture opening for the slight gain in depth of field.

Shooting in a well-lighted environment, using a tripod to stabilize the camera, and setting shutter speeds that will eliminate camera shake are other concerns you should be aware of. More on that later.


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Monday, August 5, 2019

The Landscape, Sigma Zoom AF 21-35mm F3.5-4.2

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Canon EOS 700QD, Sigma Zoom AF 21-25mm F3.5-4.2

Analog Diary:

The Landscape, Sigma Zoom AF 21-35mm F3.5-4.2

 'Five frames with the EF-mount Sigma Zoom AF 21-35mm F3.5-4.2, Part II'

Continuing from where I left off with Part I of my first outing with the EF-mount Sigma Zoom AF 21-35mm F3.5-4.2, a lens highly acknowledged for its image quality and sharpness.

Canon EOS 700QD, AF Sigma Zoom-Gamma 21-35mm F3.5~4.2
These images were from the same hazy early morning visit to the park, looking more at the overall landscape rather than the zoom range views.

To some extent, I do have to agree that the lens is capable of capturing and rendering the images as mentioned and commented on in the forum, while I do believe that I may have a bit more to learn about handling such a versatile lens.

The Sigma Zoom AF 21-35mm F3.5-4.2, launched by Sigma in 1985, was a carryover from the highly acknowledged and revolutionary MF version which was first introduced in 1979. Back then, no one was quite sure if such a lens was possible until Sigma proved otherwise.

The AF version, which came with a 77mm front end, is much bigger than the original 67mm, is still with its built-in floral hood and has only a single ring for the zoom control, with the aperture opening linked to the cameras AE mechanism. The lens is all metal and glass, made to last, and comes in at a hefty 480 grams in weight.

Canon EOS 700QD, AF Sigma Zoom-Gamma 21-35mm F3.5~4.2

Mounted on the Canon EOS 700QD, the camera is a bit of a tight fit into the compartment my green khaki triangular camera bag. With the divider moved to accept its larger size, the opposite side is a much smaller space, just big enough for me to slit in a 35mm compact, part of my routine of always having a couple cameras in the bag.


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