Monday, January 27, 2020

At The Beginning, Olympus Pen EE-S

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Olympus Pen EE.S

Analog Diary:

At The Beginning, Olympus Pen EE-S

'Five frames with the Olympus Pen EE-S, looking back at the beginning where it started'

I was rummaging through the image archive and came across a batch of images, taken with the Olympus Pen EE that has been overlooked as part of my earlier blog posts. The images were at the beginning of my return to analog photography and my renewed interest in vintage cameras.

Olympus Pen EE-S

The Olympus Pen EE-S (1962), was the second iteration of the Olympus Pen EE (1959) series which was to become the world's first 35mm half-frame camera produced for the mass market. The two cameras were later updated to the Pen EE (EL) and Pen EE-S (EL), which came with take-up spools that have been redesigned for easier film loading.

While the original Pen EE is fitted with a fixed-focus Zuiko 28mm F3.5 lens the later, as mentioned, comes with the wider and brighter Zuiko 30mm F2.8.

Olympus Pen EE-S

While I have since moved on other cameras make and models, including film autofocus compacts and film SLR's with interchangeable lenses, and the often enough to image tests with vintage manual focus lens mounted on the digital MFT (Micro Four Thirds), it is always a refreshing thought to be able to look back and reminisce the nostalgic vintage images that these cameras are capable of.


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Monday, January 20, 2020

Digital Moments, Zuiko OM 50mm F3.5 Macro

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Olympus E-P5, Zuiko OM 50mm F3.5 Macro

Digital Moments:

Zuiko OM 50mm F3.5 Macro

'Five frames with the Olympus Zuiko OM 50mm F3.5 Macro, on the first run with an MFT digital'

My first run with the Olympus Zuiko OM 50mm F3.5 Macro mounted on the digital MFT (Micro Four Thirds) Olympus Pen E-P5. Images, shot mostly with the aperture wide open, were surprisingly sharp, none too contrasty, and shows a clear affinity to the neutral mid-tone color range.

Olympus E-P5, Zuiko OM 50mm F3.5 Macro

The 50mm F3.5 Macro lens, designated as the 'Olympus OM-System Zuiko Auto-Macro 50mm 1:3.5', is a very compact and lightweight all metal and glass 5-elements in 4-groups construction. It weighs 200 grams, measures 40mm in length, has a 6-blade iris, an aperture range from f/3.5 to f/22, and is fitted with an automatic close-focus correction mechanism for aberration correction.

The focusing range of the 50mm F3.5 Macro is from 0.23 meters to infinity, with a reproduction ratio of 1:2. On the 2x crop-sensor E-P5, or when fitted with a 25mm Auto Extension tube to the OM 35mm SLR, the reproduction ratio is boosted to 1:1. Going beyond that, say, with the 65mm-116mm Telescopic Extension Tube on the SLR, or with the standard extension tube fitted to the OM Adapter OM-2 on the digital MFT, is all yours to try.

Olympus E-P5, Zuiko OM 50mm F3.5 Macro

First introduced in 1973, with silver nose trimming, the Olympus OM-System Zuiko Auto-Macro 50mm 1:3.5 was updated to the Olympus OM-System Zuiko MC Auto-Macro 50mm 1:3.5 (Multi-coated) versions. The latest version, the multi-coated version but without the 'MC' lettering, may be identified by a series of 4-character manufacturing code codes silkscreened to the butt of the lens mount.

One thing you might interesting is that the lens is also equal to the task of a standard lens, if not better and more flexible than the one you may have been using.


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Monday, January 13, 2020

Analog Diary, Bypassed by Time

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Nikon N75, AF Nikkor 35-105mm F3.5~4.5 D

Analog Diary:

Bypassed by Time

'Five frames with the Nikon N75 and AF Zoom-Nikkor 35-105mm F3.5~4.5 D, and a railway station bypassed by time'

Due to a time constraint, I had the chance of taking only half a dozen shots of this railway station I was at recently. While the passenger coaches were modern EMU's (Electrical Multiple Units) and the station front was with updated services elements, the platform area itself was rather blighted, a sight that seems to have been bypassed by time. Remnants of scaffolded tanks for water storage, dilapidated and fenced up godown units, and lethargic looking platform roofs were the order of the day.

Nikon N75, AF Zoom-Nikkor 35-105mm F3.5~4.5 D

I was using the AF Zoom-Nikkor 35-105mm f/3.5~4.5D mounted on N75 for the shoot. The 16-elements in 12-groups NIC (Nikon Integrated Coating) multicoated FX lens, is a great push-pull zoom that works perfectly on all 35mm Nikons as well as Nikon FX digital cameras made since 1977. Acknowledged sharp throughout its range, from a wide 35mm to a short 105mm telephoto, the lens is well suited for family photographs or for your travel vacations.

The N75 35mm SLR film camera the lens was mounted on is no slouch either. The camera (also marketed ad N75, and U2) which was in 2003, is a very advanced SLR camera built with innovations that makes the F5 (1959), and F80 (2000) legends of their own. Exposure programming is a veritable choice of Automatic, Vari-Program Modes, and PASM, while metering is a 25-segment Matrix pattern with five user autofocus sensors.

Nikon N75, AF Zoom-Nikkor 35-105mm F3.5~4.5 D

The AF system of the N75 works with every AF, VR, AF-I and AF-S lens ever made by Nikon, and with manual focus lenses, a confirmation dot electronic rangefinder system. Finally, the N75/F75/U2 is also last of the breed, the final model Nikon produced before the launch of the digital D100 and later the D70.


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Monday, January 6, 2020

Sights and Scenes, Scenes At The Stop #II

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Nokia Asha 300

Mobile Photography:

Sights and Scenes, Scenes At The Stop #II

'Five frames with the Nokia Asha 300, documenting the aura and ambiance of a train stop'

Another two stops actually. The top image, at the first stop, looks up at the roof structure covering the stop at the overhead LRT line. The rest of the images, at the second stop, looks at the connectivity, design, and engineering of the interchange, which connects the first stop to the ground level railway platform below.


Coupled with the time of day, which is much later than the morning rush hour, both had only a very few people around, and the spaces were wide open to the imagination. The ease and fun of using a mobile device like the Nokia Asha 300 for telling stories is very apparent here. It does not take more than slipping the camera out of your short or pants pocket, holding it away arm's length, to document, in essence, the aura and ambiance of the place.


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