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Olympus E-PM2, F.Zuiko PenF 38mm f/1.8

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Olympus E-PM2, F.Zuiko PenF 38mm f/1.8

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Olympus E-PM2, F.Zuiko PenF 38mm f/1.8

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Olympus E-PM2, F.Zuiko PenF 38mm f/1.8

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Olympus E-PM2, F.Zuiko PenF 38mm f/1.8

Digital Moments: Image making with a super compact mirrorless setup, a vintage Olympus Pen E-PM2, and a legacy Olympus F.Zuiko PenF 38mm f/1.8.

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While the 'Compact Comeback' resurgence refers to a recent trend in the interest of smaller and more portable digital cameras, or digicams, with young enthusiasts looking for a nostalgic appeal in retro looks and simple point-and-shoot photography, senior vintage veterans, on the other hand, can equally look at the concept through a more elaborate setup with a small and compact vintage mirrorless digital mounted with an equally small and petite legacy manual focus lens.

As reviewed, an example of the setup is the mirrorless Olympus Pen E-PM2, the smallest and lightest compact system camera on the market when it was launched in 2012, coupled with a legacy manual focus Olympus F.Zuiko PenF 38mm f/1.8, a product manufactured for the PenF half-frame SRL camera from the 1960s.

Though designed with a focus on being small, minimalist, and easy to use, with a body dimension of approximately 109.8 x 64.2 x 33.8mm and 223 grams in weight, the Pen E-PM2 is a highly functional mirrorless digital with flagship features including a 16.1MP sensor and TruePic VI image processor (as seen on the E-PL5 and OM-D E-M5), a 3-inch touchscreen, two-axis image stabilization, and a customizable interface that allows the camera to be set up to users preferences.

The accompanying F.Zuiko PenF 38mm f/1.8, which should be well past 60 years old by now, is part of the Olympus PenF series of half-frame SLR system cameras, which were in production from 1963 to 1972. The solidly built lens features a classic double Gauss design with 6 elements in 5 groups, 5 aperture blades, measures approximately 50mm x 35mm in size, accepts 43mm filters, and weighs 138 grams.

The lens has a minimum focus distance of 0.35 meters, and at 38mm on the half-frame, is equivalent to a standard normal 50mm on a 35mm full-frame camera. Designed specifically for the Pen F system with a fast f/1.8 aperture, the lens is known for its good image quality, particularly when stopped down, with minimal distortion or chromatic aberration.

On the 2x crop sensor E-PM2, the F.Zuiko PenF 38mm f/1.8 is equivalent to a 76mm short telephoto lens on a 35mm full-frame. For good use, a 75mm short telephoto lens is an excellent choice for portrait photography, with a flattering perspective, good background separation, and compression. The focal length is also versatile enough for street photography (which I will try on another session), especially when you want to isolate subjects or create tighter compositions from a mid-to-long distance.

Olympus E-PM2, F.Zuiko PenF 38mm f/1.8

With its short telephoto mode, wide aperture, and close focusing distance, the lens is equally suitable for use in close-ups and macro shots. Though thoughtfully disadvantageous without the help of a 'peak focusing' feature, the E-PM2 can be fitted, optionally, with an external EVF (electronic view finder) to enhance focusing accuracy.

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Olympus E-500, Sigma Mini-Wide II 28mm f/2.8

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Olympus E-500, Sigma Mini-Wide II 28mm f/2.8

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Olympus E-500, Sigma Mini-Wide II 28mm f/2.8

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Olympus E-500, Sigma Mini-Wide II 28mm f/2.8

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Olympus E-500, Sigma Mini-Wide II 28mm f/2.8

CCD Resurgence: Image making with a legacy Sigma Mini-Wide II 28mm f/2.8 wide-angle prime mounted on a 2x crop sensor Four/Thirds digital SLR camera.

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A highly recommended digital SLR and lens kit combo for CCD enthusiasts is the Olympus E-500, a vintage digital SLR camera launched in 2005 with an 8MP Four Thirds sensor from Kodak, fitted with a legacy manual focus from the 1080s, the Sigma Mini-Wide II 28mm f/2.8. The camera and lens combo, light in the hand, and swift on the take, should do well for enthusiasts enamored with the low-light, high-quality film-like images CCD sensors are known for.

The Olympus E-500, although not the smallest, was the lightest DSLR camera on the market when it was launched in 2005, and, unlike the preceding E-300 model, featured a body shape similar to that of a conventional SLR. The camera is fitted with the highly acknowledged 8MP Kodak KAF-8300CE CCD sensor, has good ergonomics, a comfortable hand grip, and a body that is built stiff and strong.

The Sigma Mini-Wide II 28mm f/2.8, on the other hand, is a lens known for its good contrast and color rendition, and is a later version of the original Mini-Wide. The lens, a compact, manual-focus wide-angle lens, was made available in various camera mounts from the 1980s to the early 1990s.

Construction-wise, the Mini Wide II is mainly of plastic construction with a 6-element, 6-group optical design, multi-coated glass, and 6 matte blades that form a hexagonal aperture shape. The lens measures 43–50 mm in length, depending on the version, weighs around 210 grams, and takes 52mm filters.

To distinguish it from the original iteration, the Mini Wide II features a plastic aperture ring and a diagonal pattern focus grip, while the original Mini Wide has a metal aperture ring and a square pattern focus grip. On PentaxForums, the Mini Wide II enjoys a favored rating of Sharpness (8.6), Aberrations (7.4), Bokeh (7.7), Handling (8.7), and Value ( 9.2).

Reviews indicate that the lens shows moderate sharpness when used wide open. Sharpness, however, improves significantly from edge to edge when the lens is stopped down to f/5.6 or f/8, a characteristic that makes the lens well-suited for shooting in bright daylight with smaller apertures.

Olympus E-500, Sigma Mini-Wide II 28mm f/2.8

On the 2x crop sensor E-500, the Sigma Mini-Wide II 28mm f/2.8, with its standard normal 56mm equivalent offering a field of view similar to that of a short telephoto, is a good choice for street photography, cityscapes, and environmental portraits. The lens has a close-focus distance of 0.22 meters and is known for its macro capabilities at a 1:4.5 macro reproduction ratio.

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Olympus Pen E-P5, FD-mount Sigma Super-Wide 24mm f/2.8

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Olympus Pen E-P5, FD-mount Sigma Super-Wide 24mm f/2.8

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Olympus Pen E-P5, FD-mount Sigma Super-Wide 24mm f/2.8

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Olympus Pen E-P5, FD-mount Sigma Super-Wide 24mm f/2.8

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Olympus Pen E-P5, Sigma Super-Wide 24mm f/2.8

Digital Moments: A look at vintage primes and legacy lenses equivalent to the standard normal primes on 4/3 mirrorless or APS-C digital SLR cameras.

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I have had this low-cost, early version FD-mount Sigma Super-Wide 24mm f/2.8 for quite a while now, but was unable to get a close-fit Micro Four Thirds adapter until only recently. A couple of earlier attempts were disasters, as the mounts were never a proper fit, shaking and wobbling when fitted to the adapter. This last option, actually the lowest-priced listing I could find on the Big Bay, is made from a lighter material than the previous two and feels less robust, but it is a perfect fit for both lens and camera.

The Sigma Super-Wide 24mm 1:2.8 is a legacy lens acclaimed for its balance of affordability, optical performance, and versatility. Designed for the era of 35mm full-frame film cameras, this lens is now compatible with mirrorless camera systems through lens adapters. Fitted to the 16MP CMOS Olympus Pen E-P5, the lens is equivalent to a 48mm prime on a 35mm full-frame camera, the focal length of a standard normal lens.

Lenses with a full-frame equivalent focal length of around 40 to 60mm have the angle of view and perspective similar to what the eye sees, and coupled with a fast 1:2.8 aperture, make the lens ideal for a wide range of photography genres, including landscapes, street photography, and architectural shots, or just as a general-purpose lens.

The Sigma Super-Wide 24mm 1:2.8, which enjoys a rating of Sharpness (7.5), Aberrations (8.0), Bokeh (8.0), Handling (8.0), and Value (9.5) on PentaxForums, is said to have been introduced in 1981, with the follow-up Super-Wide II, with a plastic aperture ring, in 1986. The two are optically similar (if not identical) and share similar specifications, though reviews indicate that the II is slightly better in image contrast quality.

The 6-bladed lens, which features a polycarbonate barrel with a metal mount, has an aperture range from f2.8 to f22 with half-click stops, a focus throw of 180 degrees, takes 52mm filters, and weighs around 195 grams with variations according to the mount fitted. A standout feature of the lens is its 1:4 magnification ratio when set to its minimum focusing distance of 0.18 meters.

Though the review unit is well past its 40th birthday, built without weather sealing and susceptible to dust and moisture ingress, it still has the optical clarity, albeit with minor exterior wear, of a mint. As a testament to its built quality, the focus ring is well-damped and very smooth, and aperture stops are clickety new. The lens should do equally well for APS-C digital SLR users looking for a cost-effective equivalent to a standard normal prime.

Olympus Pen E-P5, FD-mount Sigma Super-Wide 24mm 1:2.8

The Olympus Pen E-P5, a 2013 issue, is the fourth iteration of the E-P model series, which continues with the updates with a 16MP MOS sensor (the same as seen on the  E-M5), an advanced '5-axis' in-body image stabilization with automatic panning detection, 9 fps continuous shooting, tilting rear touch screen, a top shutter speed of 1/8000 second, and a feature much sought after (of late) by vintage enthusiasts with legacy lenses - a 'peaking' display to assist manual focus.

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Olympus Pen E-P5, Olympus Zuiko MC 21mm f/3.5

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