A Morning in Monotone

Olympus Pen E-P5, Lumix G 14mm F2.5 Asph.

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A Morning in Monotone

'Five frames with the Lumix G 14mm F2.5 Asph., an early morning monotone concept'

Here I am, back again with a new batch of JPEG images, shot in monochrome with the Lumix G 14mm F2.5 Asph. mounted on the Pen E-P5. Images were post-processed and tweaked with my normal dose of edits which include Tone Curve, Brightness & Contrast, Gamma, Unsharp Mask, and a bit of additional Contrast in Monochrome & Sepia.

While it may not be a practice of professional who will always say that images are always better shot in RAW, there are always some who do the opposite and still claims good results with their images. You be the judge here.

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On A Break

Nikon F-301, Nikkor Ai-S 85mm F2

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Taking A Break

'Five frames with the Nikon F301, and Nikkor AI-S 85mm F2'

I am going for a break here, away from film photography, but not for too long though, as the interest is still strong in my heart and in my veins. The reason? The photo lab nearest to my place is closing its doors, and I am not keen enough, at least currently, to create a new travel route to the next nearest lab.

Taken in a rush, these parting shots were with the Nikon F301 and Nikkor 85mm F2.

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The Sun Is Out, The Moon Is Still Up

Olympus Pen E-P5, Lumix G 14mm F2.5 Asph.

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The Sun Is Up, The Moon Is Still Out

'Five frames with the Lumix G 14mm F2.5 Asph., early morning shots on a chanced outing'

Grabbed these shots just as I was starting out on a chanced outing, an early morning walk with the Pen E-P5. The camera was mounted with a Lumix G 14mm F2.5 Asph.

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A Quick Take II

Olympus E-P5, Hexanon AR 50mm F1.7

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A Quick Take II

'Five frames with a not fully functional Hexanon AR 50mm F1.7, a lens often acknowledged as one of the sharpest lens ever built'

Continuing where I left off with the first five frames shot on the faulty Hexanon AR 50mm F1.7, this time with the aperture manually adjusted a smaller opening of 2.8. Have to admit that these images speak for themselves in terms of image sharpness and color rendition.

The lens is the second iteration of the series. The first, introduced in 1973 as a kit lens to the Autoreflex T3, gained a reputation for its optical performance, particularly its sharpness. The T3 was updated to the Autoreflex TC in 1976 and with it an updated version of the Konica Hexanon AR 50mm f1.7 lens.

The later version is smaller and lighter, has a longer closest focal distance (55cm from 45cm), and no aperture half stops. Construction is the same 6-elements in 5-groups and  6-blade aperture, with the optical quality, said to be the same. Aperture and focus rings are very smooth, the build quality remains excellent, with clear lettering, and a solid metal body and mount.

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Running on Expired

Olympus XA1

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Running on Expired

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

The Olympus XA1 35mm film camera, was never in the limelight which shines over the rest of the Olympus XA capsule camera series. The camera, however, is a favorite of mine. It is an easy and fun point-and-shoot, and in this case, especially effective for a quick look around. With no focusing necessary, all it takes is just a deliberate panning action to grab all the images around you.

The XA1, fitted with a D.Zuiko 4-element in 4-groups 35mm F4 lens, has a universal focus range from 1.5 meters to infinity. Fil ISO speeds acceptable are only ISO 100 or 400 film. Exposure is automatic by a built-in selenium meter, and the camera operates on a programmed shutter speed range from F4 at 1/30 second to F22 at 1/250 second.

When carried without the optional proprietary flash units that can be used across the model range, the XA1 is small enough to slip even into your shirt pocket, and ready the instant you pull the slide cover back (provided you have forwarded the film to its next frame). The shutter release is a simple push-rod button, integrated with a red pop-up flag that locks the shutter when underexposure is detected or the capsule shell closed.

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