6.01.2014

Olympus Kit 40-150mm stacked with Canon 500D closeup lens

While mowing the lawn the other day I came across a near perfect dandelion-gone-to-seed.  It was all alone in the grass (I've done a pretty good job this spring killing off the weeds) and the afternoon light was good.  I went into the house and grabbed my camera.  But I did something a bit differently for the lens set up.

I took a kit 40-150R Olympus lens.  I bought this a year ago for $100 and I think it retails for $150-$200.  It has a plastic mount and is very light, weighing less than 7 ounces.  But the optics, at least on this sample, are excellent.  The plastic mount doesn't bother me. No matter how long the lens lasts, it will be well worth the price I paid. Indeed, the charts provided by slrgear.com show it to be sharp all the way up to F11.

Anyway, hoping not to compromise its sharpness too much, I attached a 500D Canon closeup lens into the filter threads. Mine has a 58mm diameter which fits perfectly on the 40-150.  I think I paid about $90 for it, so it isn't cheap, for a small chunk of glass.  But it modifies a zoom lens into a macro lens.

Metadata:  74mm, 1/320 sec, F5, ISO200.  
I had the minimum shutter speed set to 1/320 and F5 is "wide open" at the 74mm zoom mark. 
A touch of fill flash.  No cropping.

Center crop at 100%

Focusing is a bit tricky with the 500D attached.  It is designed to focus your zoom lens at 500mm (about 20").  That's it: 20" (plus or minus a couple of inches).Once you have achieved focus, you then zoom-in or zoom-out to compose your picture.  Zoomed-in I can focus on an object about 1 3/4" in width.  If that is too magnified, I just zoom out until I get the composition I am looking for.  If my subject is more than 4" in width, I don't need the closeup lens; there is enough magnification in the lens itself to accomplish this without an accessory.

[I also own a 58mm diameter 250D.  This is designed to focus your zoom lens at 250mm (about 10").  Fully zoomed-in at the 150mm end of the 40-150, I can focus on an object about 1" in width.]



Here're a few more examples using the 500D on top of the 40-150 zoom:

Metadata:  Zoom to 100mm, 1/250 sec, F5, ISO200.  
F5 is "wide open" at the 100mm zoom mark. 
A touch of fill flash.

Metadata:  Zoom to 82mm, 1/500 sec, F4.8, ISO200.   
A touch of fill flash.

Metadata:  Zoom to 150mm, 1/800 sec, F5.6, ISO200. 

Metadata:  Zoom to 78mm, 1/250 sec, F4.7, ISO200.  
A touch of fill flash.





5.25.2014

Maple whirlybird portfolio

Every spring when I feel like grabbing my camera and pressing the shutter I find myself strolling around our yard.  We have some beautiful sugar maples and I love the little seed pods when they turn pink or magenta.  They look so photogenic against a blurred background of green foliage.

According to Wikipedia the maple seed pods are called samaras. Less formally, they are also called whirlybirds, polynoses, and maple keys.  As a youngster I remember calling them helicopters because of the way they spin.

Yesterday, between raindrops, I took a few pictures.  The wind was more than I wanted, but I shot at fast shutter speeds to freeze the action.

I will start below with my favorite picture from yesterday.  I call it "the capture of the day".  And, it was right outside our front door. I spied this inch worm purely by accident, and found that if I viewed it in a backlit orientation I would pick up light off the thin thread strand, which you can see of to the left of the stem.

The two pictures with the inch worm were taken with the Olympus E-M1 and an old 50mm macro lens designed for the FT format.  It autofocuses terribly, so I relied on manual focus and focus peaking.

The remaining images were taken with the Sony NEX-6 and 90mm Tamron macro lens. I relied on manual focus and focus peaking here as well.  I preferred the white balance I got from this set up.  It was a bit cooler and the Olympus was a bit warmer.  Once on my computer, I adjusted the Olympus images to resemble those from the Sony.



















5.18.2014

Around the yard. A few macros. New spring growth.

Spring is a beautiful time of year.  Birds are singing and plant life is growing. The colors are fresh, and where earlier there was brown, now there is green... in many different shades.

These pictures were taken with a mixture of cameras and lenses.  The Tamron 90mm macro was used on the Olympus E-M1 and Sony NEX 6.  I focused manually using the peaking feature.  And I also used the 60mm Olympus macro on the E-M1.  I used the smallest focusing point with auto focus.



Red Maple




Maple




Maple seeds.  

I think the lowly dandelion can look very pretty.



These will be blueberries.

5.17.2014

Rokinon 12mm F2 for Sony NEX: Purple Fringing? yes!

[This is my seventh post on the Rokinon 12mm F2 for Sony NEX.]

Like vignetting (see prior post), I feel that the purple fringing seen in the images below are all part of the nature of a third party ultra wide angle lens that has no electronic connection to the NEX camera body.  I don't know for sure, but I don't think this lens performs any less well than would native lenses; it is just that there is no way for the incamera processing to eliminate the Rokinon's vignetting and purple fringing.  However, it is generally an easy (but extra) step in post-processing to make appropriate corrections.

The purple fringing is very prevalent.  It is visible in each of the four images below.  These were taken at F2, F4, F8 and F16.  Further below I have shown 100% crops from each one. Though I am choosing to make corrections in Lightroom, in most images it really won't make a difference when viewed at normal viewing sizes.

The four images taken (F2, F4, F8, F16)

F2

F4

F8

F16
  
----
The four 100% crops

The four crops that follow are taken from the area of the
original image circled in red.


F2 100% crop

F4 100% crop

F8 100% crop

F16 100% crop
---- 
How to fix this

What to do?  Well, in Lightroom, things are made easy. Just a click of the check-box for "Remove Chromatic Abberration" and most of the work is done.  For a portfolio image, you might want to instead play with the eyedropper to fine-tune things.



F8 after applying Lightroom "remove chromatic abberation" tool.
This is far better, and remember this is a 100% crop.

----
If that isn't good enough

Here I have used the eyedropper tool as well as the automatic removal tool

F8 with "remove chromatic abberration" tool,
plus customized removal with eyedropper.






5.11.2014

Rokinon 12mm F2.0 for Sony NEX: how to fix the vignetting

[This is my sixth post about the new Rokinon 12mm (18mmm-equiv) lens.]

In my last post I showed four images taken at F2, F4, F8 and F16 to show the amount of vignetting I am getting with this lens on a 16mp Sony NEX-6.

Unfortunately, expect at F2.0, it is not entirely obvious when viewed at "web sizes" like the 750 pixel wide images shown in this blog  space.  So I have posted the images large on my Web site here:
http://www.peterfraileyphoto.com/rokinon12vignetting


Below: F2 before and after


In Lightroom:  Lens Vignetting Sliders:  Midpoint=0; Amount=80

Below: F4 before and after (more obvious on full size image)


In Lightroom: Lens Vignetting Slider: Midpoint=0, Amount=40

Below: F8 before and after (more obvious on full sizes image)


In Lightroom: Lens Vignetting Slider: Midpoint=0, Amount=30


Below: F16 before and after (more obvious on fill size image)


In Lightroom: Lens Vignetting Slider: Midpoint=0, Amount=20

5.09.2014

Rokinon 12mm F2.0 for Sony NEX: vignetting? yes!

[This is my fifth blog post about the new Rokinon ultra wide angle 12mm (18mm-equiv) lens for Sony NEX.]

The other day, before walking into my office, I took the following shots from the office parking lot basically aiming for a satellite dish on a far-off tower.  Being a wide angle lens, the tower was considerably closer than it appears in the photos.

Anyway, I wanted to test vignetting, the existence of which had been quite obvious in my early images.  There are four images here, shot sequentially at F2, F4, F8 and F16.

There is significant vignetting in my opinion, with more of it when shot wide open and less of it when stopped way down.  But even at F16, it is there.

I was disappointed to see it so prevalent.  This is my first lens wider than 24mm-equiv.  Perhaps this is just the nature of the beast.  But it also occurs to me that this lens may be no different in this characteristic than native wide angle lenses from the major brands.  The difference is that with native lenses (e.g. Olympus lens on an Olympus camera) the in-camera processing can rid the image of the vignetting.

Yes, all of these images below can be post-processed (my preference is Lightroom) to remove vignetting.  However, the F2 vignetting is very problematic.  To get rid of it completely requires so much brightening that there is a loss of color in some situations.

Note:  At this size of 750 pixels wide (compared with viewing on my 24" monitor) it's difficult to see the vignetting, except perhaps at F2.  In fact it is only at F16 that you can see how really dirty my sensor is.  On my computer monitor I can see dirt at F4 and F8.

I am working on processing these same images so I can post BEFORE and AFTER  images.  Each one needs some work.

F2 - very obvious vignetting, corners plus edges

F4

F8

F16