Sony DT 18-70mm f/3.5-5.6, The Square Revisited

Analog Diary: Film photography favorites, images with a Sony DT 18-70mm f/3.5-5.6, the kit lens for APS-C Sony Alpha DSLR cameras, on a reverse digital to analog adaptation on a Maxxum 70 35mm SLR film camera.

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A parting post for a look back session, posts on street photography outings with an ASP-C digital SLR lens, the Sony DT 18-70mm f/3.5-5.6, mounted instead on a full-frame SLR Film camera.

The first post shows images captured at the short wide-angle end of the lens, while the second shows images from the long end, and for the rest, somewhere in between.

I have not seen much of this on the Net, really, not at all, if any. I can only assume that DSLR enthusiasts are not really keen on going back to film. The good fun here is that film cameras that can be retrofitted with your current crop of DSLR lenses, depending on the make of your camera system, are easily available on the auction sites, and their cost is normally very affordable.

Minolta Maxxum 70, Sony DT 18-70mm f/3.5-5.6

These images were shot on color negative film, converted to black-and-white, and squared to the 1:1 image aspect ratio on Olympus Viewer 3 (OV3).

Sony DT 18-70mm f/3.5-5.6, The Long End

Analog Diary: Film photography favorites, images with a Sony DT 18-70mm f/3.5-5.6, the zoom kit lens for APS-C Sony Alpha DSLR cameras, on a reverse digital to analog adaptation on a Maxxum 70 35mm SLR film camera.

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Continuing from where I left off with the Wide-Angle Vignettes, posted previously. These are the images from the long or telephoto end of the lens, which, to me, is about as normal as what they are supposed to be.

As I mentioned in the previous post, this was a fun session where I had the Sony DT 18-70mm f/3.5-5.6 mounted on a Maxxum 7000.

The whole idea of mounting a DSLR lens, more so one designed for the APS-C sensor, was actually an experiment with which you can get interesting results.

Minolta Maxxum 70, Sony DT 18-70mm f/3.5-5.6

Lenses designed for APS-C sensors have a smaller imaging circle, and at the wide end of the lens, the image circle is much smaller than the film frame size; thus, the vignette effect, which will dissipate as you zoom in past the 24mm focal length mark on the Sony DT.

Sony DT 18-70mm f/3.5-5.6, Wide-Angle Vignettes

Analog Diary: Film photography favorites, images with a Sony DT 18-70mm f/3.5-5.6, the zoom kit lens for APS-C Sony Alpha DSLR cameras, on a reverse digital to analog lens adaptation on a Maxxum 70 35mm SLR film camera.

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This was way back in 2009 when I experimented with mounting an ASP-C-designed lens, the Sony DT 18-70mm (3.9x) f/3.5-5.6, on a full-frame A-mount Minolta Maxxum AF body. The lens was from a Sony A-200 DSLR kit, and the film camera was a Maxxum 70.

Retro-fitting DSLR lenses on AF SLR film camera bodies, if the mount matches, is a low-cost way to get into film photography, and you are in for a lot of fun here.

Minolta Maxxum 70, Sony DT 18-70mm f/3.5-5.6

Lenses, like the Sony DT as shown here, due to their design that comes with smaller diameter lens components, will give you the vignette or porthole effect at their widest or short end. The vignette effect will dissipate as you zoom in towards the telephoto end of the lens.