Olympus Zuiko OM 100mm 1:2.8, Pin Holed

Digital Moments: Image making with an Olympus OM Zuiko 100mm 1:2.8, with images post-processed with a Pin Hole Art Filter.

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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 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 posts, my option for this rather crude collection of images shot on the E-P5 with a Zuiko OM 100mm 1:2.8 lens is to go back to the selection of Art Filters during post-processing and give 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.

Olympus E-P5, Olympus OM Zuiko 100mm 1:2.8

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Olympus XA1, Early At the Farmer's Market

Analog Diary: Film photography favorites, image making with an Olympus XA1, and an early morning shoot at the Farmer's Market.

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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. The time was very early, dawn was just about to break, and the stalls were illuminated only by their LED or other light sources.

The visit was quite a while ago, actually. Having the film developed at the lab was a long wait, as we had to wait past the 'lockdown rules' when moving along the neighborhood crossovers was 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, so I continued with the final enhancements and print finishing with the already post-processed images.

Olympus XA1, Fujicolor Superia X-TRA 400

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 in 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 all-purpose, high-performance, and high-speed color negative film.

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LOMO Smena 35, Converted To Black & White, II

Analog Diary: Film photography favorites, image making with a LOMO Smena 35 with images converted to black-and-white, Part II.

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

The shutter on the camera is cocked separately 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 shortly.

LOMO Smena 35

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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An Outing With A Dysfunctional Konica C35 AF

Analog Diary: Film photography favorites, image making with a dysfunctional Konica C35 AF, the world's first production autofocus camera.

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I went on a street shoot, some time 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 was the exposure control, which was 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. 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 and enjoyable, and the time spent with the camera was full of expectations. The Konica C35 AF, nicknamed 'Jasupin' in Japan, was the world's first production autofocus camera.

Konica C35 AF

The camera was launched in November 1977, a year after the production of the C35 EF ('Pikari'), which itself is a follow-up 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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