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Monday, August 26, 2019

Five Frames, Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Street Scene

Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Street Scene 01
Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Street Scene 02
Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Street Scene 03
Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Street Scene 04
Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Street Scene 05
Analog Diary, film photography favorites, image making with a Sigma Zoom AF 21-35mm F3.5~4.2, on a street shoot with a Canon EOS 700 QD.
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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 in guesstimate style. While you might end up having an interesting composition with the last method, it might not work at all either.

Canon EOS 700QD, Sigma Zoom AF 21-35mm 1:3.5~4.2
Canon EOS 700 QD, Sigma Zoom AF 21-35mm 1:3.5~4.2

The Sigma Zoom AF 21-35mm 1:3.5~4.2, 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 1:3.5~4.2
Canon EOS 700 QD, Sigma Zoom AF 21-35mm 1:3.5~4.2

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, flipping the dial over, and you will have access to the camera's shutter priority mode.



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Monday, August 19, 2019

Five Frames, Pentax Espio AF Zoom, A Touch of the Arts

Pentax Espio AF Zoom, A Touch of the Arts 01
Pentax Espio AF Zoom, A Touch of the Arts 02
Pentax Espio AF Zoom, A Touch of the Arts 03
Pentax Espio AF Zoom, A Touch of the Arts 04
Pentax Espio AF Zoom, A Touch of the Arts 05
Analog Diary, film photography favorites, image making with a Pentax Espio AF Zoom, salvaging underexposed shots.
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I was not aware that the Pentax Espio AF Zoom I was using had a fault with its film frame counter, which reverted itself back to 0 after the frame number reached 17. As I was using this camera intermittently, I wasn't sure when this happened and was not sure either whether the reversion was for the film roll as well.

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 the first 17 or so images will be double exposed while the rest will be single shots.

Pentax Espio AF Zoom
Pentax Espio AF Zoom

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 of 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 showing that I was only halfway through the roll. It was clear then that only the film frame counter was resetting itself, while the rest of the camera was fully functional.

Pentax Espio AF Zoom
Pentax Espio AF Zoom

The images from that part of the roll were mostly underexposed. However, I managed to salvage a string of shots that 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

Five Frames, Olympus E-P5 + Super-Takumar 50mm 1:1.8, Digital Reverse Ring Macro Setup

Olympus E-P5 + Super-Takumar 50mm 1:1.8, Digital Reverse Ring Macro Setup 01
Olympus E-P5 + Super-Takumar 50mm 1:1.8, Digital Reverse Ring Macro Setup 02
Olympus E-P5 + Super-Takumar 50mm 1:1.8, Digital Reverse Ring Macro Setup 03
Olympus E-P5 + Super-Takumar 50mm 1:1.8, Digital Reverse Ring Macro Setup 04
Olympus E-P5 + Super-Takumar 50mm 1:1.8, Digital Reverse Ring Macro Setup 05
Macro Photography, digital reverse ring macro setup with a Super-Takumar 55mm 1:1.8 mounted on an Olympus Pen E-P5.
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An inexpensive way to get close-up macro images without the need to use macro lenses is to use the reverse lens macro photography technique. The technique calls for the lens, a manual focus prime lens with an aperture ring control, to be mounted on your camera in reverse, i.e. with the front end facing inward towards the body of your camera.



Reverse Ring Macros, Camera Setup
Olympus Pen E-P5, Super-Takumar 50mm 1:1.8, Reverse Ring

These lenses are normally mounted via an adapter that has your camera's lens mounted 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. A 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 1:1.8 lens, mounted to an Olympus OM/49mm reverse adapter, which is mounted to an Olympus OM Adapter MF-2 before it is fitted to the Olympus E-P5 body. It may sound a bit long-winded, but the constraint of what you have in terms of the bits and pieces required for the setup, does make sense and it works.

Olympus E-P5, Olympus OM Adapter MF-2, Olympus OM/49mm Reverse Ring, Super Takumar 55mm 1:1.8
Olympus Pen E-P5, Super-Takumar 50mm 1:1.8, Reverse Ring

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 a 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

Five Frames, Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Landscape

Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Landscape 01
Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Landscape 02
Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Landscape 03
Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Landscape 04
Canon 700 QD + Sigma Zoom AF 21-35mm 1:3.5-4.2, The Landscape 05
Analog Diary, film photography favorites, image making with a Sigma Zoom AF 21-35mm F3.5~4.2, shooting the landscape.
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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. 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.

Canon EOS 700QD, AF Sigma Zoom-Gamma 21-35mm F3.5~4.2
Canon EOS 700QD, Sigma Zoom AF 21-25mm 1:3.5~4.2

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 camera's 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
Canon EOS 700QD, Sigma Zoom AF 21-25mm 1:3.5~4.2

Mounted on the Canon EOS 700QD, the camera is a bit of a tight fit into the compartment of 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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