Category Archives: Photographic equipment

An architects mildly eccentric garden shed

An architects garden shed… Mamiya 6 folder 1957 film plane focus camera HP5 ISO800 ƒ16 This Mamiya was produced from the 1940’s to 1959 in many different versions. Different range finders, many different lenses by several optical lens companies. Personally I really like the Mamiya glass the render and contrast are as good as it gets As RF MF cameras go this in spite of its age is close to perfection in consideration that this camera is now sixty years old.
This was the second film I processed in the Lab Box and the first frame on the roll, the top and bottom left show a bit of edge light-leak from loading LabBox. Its easy to fix load it in subdued light! Many folders have issues and are dismissed but I like them because they are small and ideal for travel. I have come very close to buying the last folder the Fuji / Voigtlander GF670 on several occasions but have all been warned that they can be a tad delicate which is something that cannot be levelled at the Mamiya 6 folder.

Also posted in Architecture contemporary, Australian

MS Optical 35mm Lens on an Olympus EM-5

Olympus EM5 with MS Optical 35mm

Olympus EM-5 with a 35mm MS Optical lens mounted

The Parar lenses made by a Mr Miyazaki of MS optical in Chiba Japan. At least with this one and the earlier offerings are a commendable Japanese attempt to return to the original lenses that photographers had available to them in the early part of the 20th century. It probably comes as a surprise to many of todays photographers that there have actually been very few major developments in lens design in the last sixty years or so and even then they can be counted on one hand. The main ones being Aspherical lenses and ‘nano’ lens coatings. Granted materials and production techniques have improved no end but basic design not much. The super triplet is one that I am quite proud to own and are based on a British design that dates from 1893. It is still made today for cine and large format lenses by the same company. They were Ansel Adams favourite lenses and have been used by likes of Rollei  Voigtlander and many others. Its a design that produces incredible clarity and sharpness in the MS optical manifestation and worth every cent if you can lay you hands on one. I used this one mostly on my M9 before it was stolen by a pair of our local abo miscreants. The other ‘ancient’ lens I am extremely fond of is the Zeiss Tessar I have a 2.8 50mm that dates from my school days. At some point I would like to lay my hands on a 28mm and a 35mm. they also made a few telephotos 75mm and I believe a 135mm but I have never seen one of those…

Also posted in Equipment review and test Tagged |

Tank and tagasaste in infrared

Our water tank with a tagasaste tree infrared 590nm

Olympus EM-5 converted to a full spectrum camera meaning that the IR cut filter has been removed. By doing this one can have a camera that is sensitive to UV and all frequencies of infrared. This image was made with with a 670nm filter and converted into monochrome by desaturation then the contrast was adjusted in L.A.B

Also posted in Minimal, Monochrome

A hard night at the office…

A hard night at the office

Olympus E-M5 OMD ƒ/11 1/8th ISO200 75-300

Eight o’clock at night and a surprising number of people are still at work in these offices. This is an equivalent of 600mm lens at a distance of about one kilometre away. This the point where I ask can it get much better? Micro four thirds has been designed from the ground up as a digital system not adapted from a traditional format and it has really come into its own with this current generation of lenses.

Also posted in Architecture Tagged , , , |


DXO Olympus sensor comparisons

I just read some where on an older news feed (Rumors?) that the sensor in the Olympus EM-1 OMD is actually a Panasonic sensor and not a Sony as in the EM-5. So I decided to take a look, I know there is a lot of controversy about DXO comparison tests BUT at the present time like for like DXO is consistent at a glance for key factor stuff. Incidently I am seriously looking at incorporating DXO optics pro into my workflow as a RAW converter, its impressive. But I digress,  this sensor comparison is interesting especially with all the hype floating around about how good the Sony A7R and A7 are supposed to be.
Now I would not be so foolhardy as to suggest that the Sonys FF’s are a valid comparison to a micro 4/3  sensor but Panasonic have a certain likable image quality in their sensors that I find quite appealing. Its the same kind of difference on a larger scale between Leica lenses and Zeiss lenses I like both but have a soft spot for Zeiss because of the warmer colour render, that probably comes form using the Zeiss M42 glass in the 60’s and 70’s. As I see things at this juncture in time we have the Sony, Panasonic, Fuji, Sigma and several others that all produce different sensors and all have a real discernible look about them. Much in the same way that was the difference between films, now there’s fodder for a good discussion!
However how small, there is a difference between the E-M5 and the E-M1, while I haven’t used the E-M1 to any extent I’m so tempted to switch, maybe I’ll convert the E-M5 to IR. The E-M1 feels so right in the hand and the controls perfectly fit my fingers when the camera is raised to the eye which I struggled with on the E-M5. Fact is I have had real problems with it on the E-M5. Without the extra grip I have almost dropped the camera twice while changing lenses. The other features that make it for me? The WiFi capability for sure, a back focus button capability that I surely miss on the E-M5 and the weather sealing, but its the ergonomics that are the clincher (LOL) for me.
For small product work and real-estate shooting micro four thirds really has come of age and become a workable professional tool I can’t see any reason to return to a DSLR…
Also posted in Equipment review and test, Film, Infrared, Photographers Tagged , , , , , |