Olympus AF-1, Kwai Chai Hong

Analog Diary: Film photography favorites, a restored heritage alley in Kuala Lumpur's Chinatown that brings you back to the 1960s golden era, famed for its vibrant murals, interactive QR storytelling, and adjoining aesthetic cafes and bars.

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The Olympus AF-1 (Infinity in the US), 1985, the first of Olympus' AF series cameras, was also the world’s first weatherproof, fully automatic autofocus 35mm compact camera, a product of extensive research and development by the Japanese giant.

Due to its ability to be used in all weather conditions, the camera was nicknamed 'Nurepika' (wet flash) in Japan. Boxy, durable, and all with a slightly offbeat option of an auto-on flash, the camera requires a quite hard-to-get CR-P2 Lithium to power its operation.

The AF-1 is fitted with a Zuiko 35mm F2.8 4-element in 4-group lens with a minimum focusing distance of 0.75 meters, auto-exposure with an exposure range of 1/30 second at F2.8 to 1/750 second at F13.5, auto-flash with no flash override control, film autoload and rewind, and self-timer.

Olympus AF-1

The autofocus system is supported by a 'focus lock' button, which is a bit jiffy to use - press and hold the lock button with the left thumb, aim at the target with the central box, and press the shutter release button down, recompose the view, then release the lock button to release the shutter.

Olympus AF-1

For the outing, for which I took the AF-1 for a street walk down Kwai Chai Hong and the newly opened Pandan Republic, I had the flash unit blocked with a piece of duct tape (see image above) as a test of how well the camera captures images in a low shutter speed situation.

Panasonic Lumix DMC-FZ18, Colors II

CCD Resurgence: Images with a Panasonic Lumix DMC-FZ18, a super-zoom digital bridge camera with an 8.1MP CCD sensor, an 18x optical zoom lens (28-504mm equivalent), manual exposure controls, and RAW format support.

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Over and above the DMC-FZ8, which the DMC-FZ18 replaces, the 1/2.5-inch sensor enjoys a moderate increase in megapixel power from 7.3MP to 8.3MP.

New features of the FZ18 include a dedicated AF/AE button, Face Detection, and a new Intelligent Auto mode that integrates Image Stabilization, Intelligent ISO, Face Detection, and Scene Detection into a 'Super' Auto Mode.

Form-factor-wise, the FZ18 retains Panasonic's tried-and-tested design formula established with the FZ7. Externally, it is very, very similar to the FZ8, albeit with minor facelifts that give the body a bit more curve. With its good ergonomics, SLR-like controls, and massive zoom range in a very compact package, the FZ18 was the one to look at.

The smallish dimensions do not deter the camera's handling. When held, the camera feels stable, safe, and solid, and the operation of the main controls is very easy. The excellent handling, along with the image stabilization and well-balanced design, makes the camera equally safe to use with one hand.

Lumix DMC-FZ18, Leica DC Vario-Elmarit f/2.8-4.2

As with the Panasonic Lumix series, which started with the FZ1 in 2002, the strength of the FZ18, aside from the 8.1MP sensor and an impressive array of functions and features that make it the choice for a very intelligent bridge compact, is undoubtedly the image-stabilized 18x Leica zoom lens with an f/2.8 maximum opening covering a range from 28 to 500mm.

Sigma Zoom-γ AF 21-35mm f/3.5-4.2, Endnote

Analog Diary: Film photography favorites, images with the Sigma Zoom-γ AF 21-35mm f/3.5-4.2, ending the shoot with the lens mounted on a Canon EOS 700 QD 35mm SLR film camera.

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An endnote to a couple of very rewarding sessions with an EF version of the Sigma Zoom AF 21-35mm F3.5~4.2, mounted on the Canon EOS 700QD, with posts on a zoom range shots in the park, scenic landscape shots, a city street-walk before this backdrop session of architectural and urban landscape elements.

To round up the sessions, in the shortest few words, the Sigma Zoom AF 21-35mm F3.5~4.2 (1985) is a very impressive and capable lens. It is reasonably sharp, wide open, and very sharp once you stop down. Set to Landscape Mode (F8 or smaller) in Intelligent Program AE on the EOS 700QD, there is not much more you can fault the lens with.

Sigma Zoom-γ AF 21-35mm f/3.5-4.2

This AF version is a carryover from the famous and revolutionary MF version first introduced in 1979. Still mainly of metal and glass, and rubber grips, the lens comes with a bigger 72mm front element, as compared to 62mm on the prior. With its size and weight, the Sigma Zoom-γ AF 21-35mm F3.5~4.2 is never the fastest kid on the block, though.

Canon EOS 700 QD, Sigma Zoom-γ AF 21-35mm f/3.5-4.2

Despite the bulk and weight of the camera and lens combined, which adds up to almost 1.4 kg in weight, the sculptured body of the EOS 700QD helps to keep the camera snug and comfortable in your hand. The fun and ease of carrying or lugging the camera around and using it to shoot at eye level, at arm's length, or hipster style dispel the notion of weight as a burden.

The Galleria: Photo of the Day, 09/13/19

Yashica Minitec AF

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The Galleria: Photo of the Day, 09/11/19

Yashica Minitec AF

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