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Lens Cleaning

dpreview.com is shutting down their user articles section. This is something I wrote September 29, 2011

A fair number of people exhale on their lens surface. Zeiss or some german brand says it's ok. Nikon in one quote says that the exhalation has acid (actually, your saliva is alkali but you may have acid from food or stomach) and is not good for their nano coatings. I used to use Kodak Lens Cleaner, now use some pocket spray from a UK optical company but not directly on the lens, on the cloth. I don't mind exhaling in an emergency when I don't have these liquids.

Mostly I use air blower or soft brush end of a Lenspen first. If there is a smudge, I use the Lenspen - it has a powder coated felt that aggregates the smudge without the need for fluid, then brush off.

Further links

Navigate to:

• LensRentals.com article on Lens Cleaning
• Recent forum discussions on Lens Cleaning

12MP is enough (or was that 640k?)

del.icio.us Tags: Olympus,DSLR,FourThirds

Image via Wikipedia

The forums at DPR are going a bit ga-ga over the CNET PMA interview with Akira Watanabe, manager of the SLR planning department. He said - "We have no intention to compete in the megapixel wars for E-System".

It is quite common in conversations with self appointed gurus, to moan about how the small sensors in cameras keep being pushed into higher Megapixels whenever a new model is released. These people say that manufacturers of cameras should voluntarily step back from the Megapixel race. And now, when one manufacturer says so, the same people or other doomsayers step forward and say that staying at a plateau of 12MP for the Four Thirds sensor signifies the beginning of the end.

What people choose to skip, is the following remark by Watanabe-san - “Instead, Olympus will focus on other characteristics such as dynamic range, color reproduction, and a better ISO range for low-light shooting”.

It is also well espoused by reviewers and by the anti-Four Thirds opinionists, that the weak points in the Four Thirds cameras is about a stop of dynamic range and earlier onset of digital image noise (graniness). So Watanabe-san is simply stating that the company does recognise the challenges in this sensor size and they want to improve the performance of these aspects on a higher priority.

Certainly, if Panasonic (or less likely, Kodak) comes to the table and brings an even denser Megapixel sensor, it would not be logical to sweep such a gift into the rubbish bin.

Much is also made of Watanabe-san’s statement: "We don't think 20 megapixels is necessary for everybody. If a customer wants more than 20 megapixels, he should go to the full-frame models”.

Again, nothing surprising in that. Lots of people don’t need the 20MP. Look at the long sales life and service life of the redoubtable Nikon D40 – a 6MP camera. And routinely still recommended as a useful camera – with punchy colours, low image noise. Many people, including myself, seldom print now (again there are aged, veteran photographers who frown on this and insist that the object of photography IS PRINTING) – and certainly web images or screen images, as a output result, uses less than 2MP.

So, why the angst? Why the neurotic chest thumping? It’s because someone practical and pragmatic stood up and announced that there is a finite limit to real sensors and real optics and the Four Thirds design as at the time of the interview.

Will there be electronic and optical improvements? Sure. By how much and how soon?

Should aspiring pros and pro-like fans abandon Four Thirds as of now so that they can fill their bag with CaNikZeiss lenses? Maybe. If you must have the huge Megapixel, the wafer thin DOF, the super creamy bokeh that an 85mm f/1.2 lens will deliver, the ISO 2500 without digital image noise, then they should have left the station like, oh, a year ago.

For the rest of us, the practical niceties of the Four Thirds system daily proves it’s worth. And when the time comes, when the legendary 24x36mm “full frame” sensor DSLR sells at today’s entry level price, we’ll take our options then. Until then, Carpe Diem – don’t burden yourself with the perceived loss of assets that aren’t.

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Happy Australia Day 2009

For once, I photographed a parade without giving in to my 7-14mm. I’ve previously shot parades wide – with the Kodak P880 and the Zuiko Digital 7-14mm. But once I got the dslrbaby eyepiece magnifier, I thought I would give my manual focus 250mm f/5.6 Rokkor a good run.

I call this one, Spotted Ibex – the Helmet seems to merge with the orchestral instrument he’s carrying, to give an illusion of a deer’s antlers. If you see the bigger sized photo, you’ll see the threads of the instrument and the hairs on the back of his neck. I’m simply mesmerised.

From People in Melbourne

Then, there was this. The sunlight was very harsh and bright – it’s Melbourne summer and what a summer. These RAAF guys had to stand at attention for a fair time as the speeches rolled through. Facing the sun. Without sunnies. No wonder the slitted eyes. The girl in the back has her mouth open, stifling a yawn.

From People in Melbourne

There was also ethnic diversity in the ranks. The expressions are something worthwhile treasuring.

From People in Melbourne

The military wasn’t an all men’s affair. This flag bearer has again eyes that would mesmerise me and a face that could launch ships. A great bonus was the angelic child looking on.

del.icio.us Tags: manualfocus,rokkor,e-510,lens,AustraliaDay,2009

From People in Melbourne

The dslrbaby works

I finally succumbed and bought the dslrbaby 1.3x eyepiece magnifier for my Olympus e-510. It’s a three component magnifier –

1. the two optical elements in a plastic tube with a screw thread
2. a rubber eyepiece that fits over the plastic tube
3. a plastic clip that the plastic tube screws onto and this clip then fits onto the e-510

The vendor gives you three of these plastic clips to fit other DSLR brands.

Eye relief is not bad, the plastic tube makes it more like you’re peering through a tube and you can’t see the digital readout on the right hand side of the viewfinder without moving your eyes. The significant thing is that the over smooth focussing screen of the e-510 now appears to snap in and out of focus better. Manual focussing still does not compare to say the Pentax K200D viewfinder, but I seem to be getting higher keeper rates. Focussing with the 50mm f/1.7 manual focus Rokkor is a little improved, with the 28mm f/2.8 Tamron, not much, with the 200mm f/3.5 Tokina yes quite a bit and today, the 250mm f/5.6 Minolta CAT lens does give me more keepers. Of course with the pale postview LCD of the e-510, I still can’t be sure, in the field, but coming back to the PC, it’s a good YES.

From People in Melbourne

From People in Melbourne

From People in Melbourne

From Melbourne 2009

del.icio.us Tags: dslrbaby,eyepiece,magnifier,Olympus,manualfocus,e-510,Rokkor,Minolta,250mm,lens

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Brand and Model Perspectives

Image via Wikipedia

I shoot an Olympus e-510 DSLR, a Kodak P-880, an Olympus C-750Z and a Nikon 775. Yes, I do still shoot with the Nikon 775 even though it is a 2MP camera with a slovenly response to tripping the shutter release. And I used to shoot two Minolta film SLRs - the XE-1 and the X-700. I'm saying all this so that I can share some perspectives with you. Notice, I say, my perspectives - they are not the absolute fact - perspectives are what you develop when you intend to buy a new camera, particularly a DSLR.

Most newbies are told to go to a shop and hold / handle a few cameras. Some use that handling to make up their mind, but often we see newbies come back to the forum, none the wiser. So much for that - they are so new to the DSLR business, they listen to the salesman, they listen to more experienced forum posters and they still can't make up their mind. Because they don't have sufficient discrimination to eliminate a brand or a model.

My perspective is towards entry level DSLRs by the way, so, here goes.

Canon

Canon is a big brand - it makes pro level 35mm equivalent DSLRs (called "full frame") as well as chic IXUS point and shoot cameras. I know people and have recommended Canon point and shoots, particularly the Powershot A Series that are good value for money. I have no shooting buddies near me that have Canon DSLRs although I have some friends who have Canon DSLRs. As a Pro brand, you will find some of the sharpest, well built, brightest, heaviest lenses made by Canon in the world. If you saw the Olympics or sports meets, there would be a whole brace of Canon Pro sports shooters with big white lenses.

If you intend to be a Pro sports shooter, a Pro journalist, then Canon is one of two brands that is a no brainer choice. Be prepared to spend big bucks for quality. Be prepared to carry heavy gear. Be prepared to insure your gear. I would expect lens rentals and repair facilities to be available given the demands of the Pro photographers.

But what do the Canon entry level DSLRs offer you?

1. A reputation inherited from the Pro gear (whether practical or not). The ability to buy a Pro quality, expensive lens if you wanted to.
2. Reasonable, competitive features.
3. Better low light pictures given the same type of kit lens as the other brands.
4. You can buy non Canon brand lenses from third party makers.
5. You can use second hand, autofocus, meant-for-film Canon lenses.

What I don't like about Canon?

1. The right hand grip from the earlier entry level models - it didn't feel right in my hand (you may feel differently).
2. The perception that I have to buy more expensive, better range lenses (bigger as well) if I wanted some respectable sharpness and performance).
3. The perception that the earlier entry level kit lens was not "nice"
4. No in body sensor shift image stabilisation

Our perceptions are clouded by our prior experience - I had had no prior experience with Canon film or digital bodies.

Nikon

Nikon is the other Pro brand in cameras. My comments about Nikon Pro cameras would be similar to Canon, except that Nikon has only recently arrived on the full frame, 35mm sensor scene. With Nikon though, I have some empathy. My photo mentor when I was in school carried a Nikon. My nearest photo buddies carry Nikon DSLRs. I have held the Nikon D40, D40x, D300 in my hands and came away happy with the feel of the bodies in my hand, the silky sleekness of operation.

What do Nikon entry level DSLRs offer you?

1. The very cheapest models feel good in your hands and are quite small in terms of bulk - almost like the small Olympus bodies. Once you fit non kit lenses on though, the bulk increases significantly, although with the new kit lenses, the package still looks attractive.
2. The ability to fit a long heritage of older Nikon lenses, even manual focus ones.
3. The ability to fit Nikon Pro quality, expensive lenses.

What I don't like about Nikons?

1. Features in the cheaper bodies have been purposely truncated so as not to draw sales away from their mid-range and Pro level bodies. For example, exposure bracketing and depth of field preview.
2. Some older, meant-for-film autofocus Nikon lenses will not motorise on the cheapest Nikon bodies.
3. No in body sensor shift image stabilisation

Olympus

Olympus has always been a maverick. The famous designer was Y. Maitani - he designed not only the famous OM-1 film SLR but even very unique and special small cameras like the XA. Olympus is not a big camera company. They have skills and reputation in microscopes (I used them when I was studying Materials Engineering).

When it came to the DSLR world, the story goes that Olympus never had an established auto focus film SLR - (maybe the autofocus idea generated bulky film bodies and bulky autofocus lenses which were not the Maitani style) - so they decided to maverick it again and produce an E-System using a smaller Four Thirds Sensor. The Four Thirds organisation has a few members - Kodak, Panasonic, Leica and Sigma. They just announced the micro Four Thirds Standard - which is about using the same sensor size, having a shorter flange distance to the removable lens mount - we're all waiting to see what kind of EVIL (Electronic Viewfinder, Interchangeable Lens) camera body will eventuate. Existing Four Thirds lenses will mount on a micro Four Thirds body with an adaptor and autofocus.

Olympus contribute body design ideas and probably body chassis to Panasonic Lumix DSLR cameras.

What do Olympus entry level DSLRs offer you?

1. A well designed, optimised (sharpness vs cost vs size) pair of kit lenses.
2. The smallest bodies amongst the competitors (although certainly bigger than a compact camera).
3. A from-new line of lenses from Olympus and Leica. Some re-engineered lenses from Sigma
4. The ability to fit (with inexpensive eBay adapters) manual focus second hand lenses from Olympus, Minolta, Nikon, Pentax K, M42 Screw Thread, Nikon.
5. In body sensor shift image stabilisation
6. A 2x sensor crop factor so your effective telephoto magnification for the same optical focal length has more reach. A 200mm optical focal length lens will give you 400mm of reach.
   

What is less to like about Olympus?

1. A smaller sensor, so slightly more grainy photos at ISO levels above 400.
2. The 4:3 aspect ratio vs the 3:2 aspect ratio of the other brand's APS-C sensors.
3. The 2x sensor crop factor will make legacy and current lenses less wide. A 24mm optical focal length will become 48mm focal length effectively, meaning it isn't wide any more.
   
4. Less lens choices and no legacy auto-focus second hand lenses.
5. A less than sharp viewfinder (makes focussing those manual focus lenses hit and miss)

Pentax

Pentax is a very senior brand. It was a peer competitor to my previous favourite and deceased brand, Minolta. Neither were able to compete with Canon and Minolta in the heavy duty, big time Pro photographer market, although there were Pros who did use both brands. In their film SLRs Pentax stayed with the M42 screw thread mount (called the Pentax / Practika mount) a long time. They are a small company but they have recently merged with Hoya Glass who make optical filters, spectacle lenses. They also work closely with Samsung and some of their DSLRs are rebadged and sold by Samsung with some changes.

What do Pentax DSLRs offer you?

1. Very good value for money. In fact, probably the lowest price possible for a DSLR, particularly the older models.
2. A variety of "primes" - single focal length lenses that are small and light.
3. A variety of lenses including second hand manual focus lenses (M42 screw, Pentax K mount). New lenses are either Pentax branded or Samsung and Schneider Kreuznach approved. Sigma are a major lens supplier.
4. Utilitarian features - well thought out, photographer's features rather than the latest "I have this feature too" ideas.
5. In body sensor shift image stabilisation

What is less to like about Pentax?

1. The reliance and close association with Sigma means that the lens feel and build quality do not have the Nikon / Canon "feel". That does not mean Sigma / Pentax lenses are not adequate.
2. The surface finish and general feel may not be up to the standard of a Nikon.

Sony

Sony had been making digital compact cameras for a long time. When they wanted to get into the DSLR business, Minolta happened to be looking for a buyer for their camera business, so Sony bought the Minolta camera and DSLR business. With that, they introduced the first Sony DSLR, the Alpha 100. Soon after, Sony, with much investment in technology and development, introduced a brace of new Alpha models, incorporating more Sony ideas. Sony have an extensive optical, digital business in still cameras, TV cameras and TV technology, just like their competitor Panasonic.

What do Sony DSLRs offer you?

1. The Sony brand, support and service network, retail and point of sale network. IT'S A SONY! Competitive and keen pricing.
2. Engineering money and engineers galore - they too are technology mavericks.
3. Minolta personnel and expertise from the previous Minolta DSLRs.
4. Second hand, Minolta Auto Focus Lenses, new Sony branded ones and Carl Zeiss branded lenses.
5. In body sensor shift image stabilisation

What is less to like about Sony?

1. The kit lenses are not the sharpest.
2. Some features purposely left out on the entry level bodies.
3. A peculiar left - right weight balance caused by cramming articulating large LCD panels in the body.

Sometimes choosing a brand from these is first preluded by - "Do you have a problem with not buying a universally accepted Pro brand like Canon and Nikon". Your photos may not and will probably not be different but the chip on the shoulder may show through. If you have no problems, then you can continue on to enjoy choosing from a wider range of brands.

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The Tokina 200mm manual focus lens

Image via Wikipedia I have this 250mm f/5.6 Minolta Rokkor MD mount legacy manual focus lens from my film SLR days. Put it on an eBay MD to FourThirds adapter and shot a few. Forum participants think that the bokeh is a little ferocious:





So while passing Micheal's Camera Store in Melbourne, I happened on this Tokina 200mm f/3.5 mm lens. It's a metal and glass that feels real solid and cold in your hands. The focussing action is smooth - completely different feel from modern rubber and fibreglass covered lenses. So I took it today to Blackburn Lake and incidentally met Maruhan.



Focussing the 200mm at f/3.5 is easier than the 250mm CAT at f/5.6 - there is a much longer travel in the focussing mechanism and the f/3.5 is brighter, with a more definite in-focus image visual. However, operating with the Olympus e-510 viewfinder and this lens is not as much fun nor is it as fast as my shorter reach standard 40-150mm autofocus Zuiko Digital kit lens zoom. I'd say I would get less than 50% keepers due to manual focus error. Here are some results.