Pin Holed, Zuiko OM 100mm F2.8

Olympus Pen E-P5, Zuiko OM 100mm F2.8

Digital Moments:

Pin Holed, Zuiko OM 100mm F2.8

'Five frames with the Zuiko OM 100 F2.8, post-processed with Pin Hole Art Filter effect'

Looking back at the lost art of Art Filters, a novelty once propagated by the makers of Olympus digital cameras, something not really worthwhile having it installed on the camera, let alone making it a feature in your image portfolio. I do dabble with it, though, at least once, with a Keyline Picture Book, and on another occasion, a Pin Holed and Framed post.

For not having a good resource for submission to these weekly post, my option for this rather crude collection of images shot on the E-P5 with a Zuikom OM 100mm F2.8 lens is to go back to the selection of Art Filters during post-processing app and gave these images a little nudge in the direction of the Pin Hole effect. Results, which are quite simplistic and not really adjustable, are not the best, just passable if I might say.

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When It Rains, It Pours

Nokia Asha 300

Mobile Photography:

When It Rains, It Pours

'Five frames with the Nokia Asha 300, weathering out the pandemic confinement'

When it rains, it pours.

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Running on Expired, At the Farmer's Market #IV

Olympus XA1, Fujicolor Superia X-TRA 400

Analog Diary:

Running on Expired, At the Farmer's Market #IV

'Five frames with the Olympus XA1 with an expired roll of Fujifilm Superia X-Tra 400'

A late addition to the 'At the Farmer's Market' series, posted earlier with images from the Nokia Asha 300. On this visit, I also took the Olympus XA1, which was loaded with a roll of expired Fujicolor Superia X-TRA 400, and finished the roll with these no-flash images here. The time was very early, dawn was just about to break, and the stalls were still illuminated only by the own LED or other light sources.

The visit was quite a while ago actually. Having the film developed at the lab was the long wait as we had to wait past the 'lockdown rules' when moving along the neighborhood crossovers are easier. I also did a double whammy with the scanned images, as I had the original scans post-processed and posted back to the original folder before realizing the mistake. I was not up to making another set of scans and continued with the final enhancements and print finishing with the already post-processed images.

The images did good, however, thanks to the D.Zuiko 35mm F4 lens of the XA1 and, though expired, the Fujicolor Superia X-TRA 400. Both are with characters of their own. The Olympus XA1, never in the limelight or heavily mentioned of the Olympus XA family of capsule cameras, is still fitted with an outstanding Zuiko lens, and the Fujicolor Superia X-TRA 400, daylight balanced, is truly a fine-grain an all-purpose, high-performance, and a high-speed color negative film.

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On Black-and-White Conversion (Pt. II), LOMO Smena 35

Camera and lens make

Analog Diary:

On Black-and-White Conversion (Pt. II), LOMO Smena 35

'Five frames with the LOMO Smena 35 (Triplet T-43 40mm F4 lens), Part II '

Another batch of images shot on an outing with the Smena 35, a very interesting Russian LOMO 35mm viewfinder film camera. Easily available at the lowest of prices, and manufactures with its all-plastic body, the LOMO, nevertheless, came with a very interesting lens. The Triplet T-43 40mm F4 is a highly regarded '3 lens anastigmat' built-in coated glass kit lens with aperture setting from F4 to F16 and a shutter speed range from 1/15 to 1/250 second and B.

The shutter is cocked separate from the film wind and can be operated independently and repeatedly over a single film frame, making multiple exposures, both intentionally or unintentionally, interestingly possible. I have yet to go into this mode with my review unit, and will probably plan for it in the near future.

These images were shot on a roll of expired Kodak ColorPlus 200, scanned and post-processed initially on the defunct Olympus Viewer 3 (OV3). The conversion and final enhancement of the black-and-white images were done on Microsoft Photos.

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Outing With A Dysfunctional Konica C35 AF

Konica C35 AF

Analog Diary:

Outing With A Dysfunctional Konica C35 AF

'Five frames with the Konica C35 AF, the world's first production autofocus camera'

I went on a street shoot, sometimes back, with a dysfunctional Konica C35 AF, and came back with a whole roll of out of focus images, five of which as posted here. The images do show what the Konica Hexanon 38mm F2.8 was acknowledged for. The C35 AF I was reviewing, had among other things, a dysfunctional AF module, a dead underexposure warning light, and despite a working flash, a non-working flash ready light.

A non-manual function that was still working on the camera is the exposure control, which is automatic with the CdS AE system fitted. The shutter works as well, and I can only assume that it does so at one of the three speeds of 1/60, 1/125, or 1/250 second that the camera was specified with. The AF camera to subject distance module, indicated by a distance pointer located on the outside of the lens housing mount, after the shot is taken, is not working either.

Regardless, the outing was fun, enjoyable, and the time spent with the camera, full of expectations. The Konica C35 AF, nicknamed 'Jasupin' in Japan, was the world's first production autofocus camera. The camera was launched in November 1977, a year after the production of the C35 EF ('Pikari'), which itself is a followup to the Konica C35 Auto S2, one of the ultimates of the C35 series. The C35 AF has the same Hexanon 38mm F2.8 lens as the others.

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