Film


There’s a lot of confusion when it comes to using lenses designed for 35mm cameras on the current crop of Digital SLRS. Many photographers have sizeable investments in 35mm lenses for their film cameras, and for the most part their lens investments drive them towards a particular digital camera body, whether it’s Nikon, Canon, Minolta (Sony), Pentax or Olympus.

Luckily, all the manufacturers retained their old AF mounts, except for Olympus, which uses the newly designed Four-Thirds mount. Sony retained the Minolta ‘A’ autofocus bayonet mount for the Alpha series cameras, allowing all the fine 35mm lenses out there since 1986 to be used. The same goes for Nikon and others.

However, due to cost constraints at the present time, most digital SLRs use a sensor that is smaller than the 35mm format size of 36mm x 24mm. This smaller format is 22.7mm x 15.1mm, and is known as the APS-C format. Sony and Nikon (and others) use a sensor size that is approximately the APS-C format size. As can be seen, the APS-C size provides a much smaller image area, 342.77 square millimeters versus 864 square millimeters for the standard 35mm format.

When a 35mm lens is used on the current crop of digital cameras, the smaller sensor size means that the 35mm lens will now have a narrower angle of view (also called FOV or field of view) than when used on a 35mm film camera body. This is due to the fact that the 35mm lens creates an image on the film (or sensor plane) that is is sufficiently large enough to cover the 36x24mm frame it is designed for.

When used in a Digital SLR that has a smaller sensor (and thus image size), the image formed by the 35mm lens is still the exact same size as before, but the smaller sensor can only use a portion of it. In effect, this constitutes an “in-camera” crop. This cropping is determined by the ratio of the sensor size to the 35mm format size, distance of the image plane from the front of the lens etc.

In most of the cameras using APS-C size sensors, the ‘cropping’ is equivalent to using a lens that has a narrower angle of view (telephoto effect). This Crop Factor (also known as Focal Length Multiplier) is around 1.5x (Sony Alpha) 1.6x (Nikon). In some cameras, Canon uses a sensor size that is slightly larger, which gives a 1.3x factor (this is the APS-H format). The Four-Thirds system used by Olympus and Lumix (Panasonic) has a 2x factor.

The focal length does not really change, of course. The smaller sensor’s ability to register only a portion of the total image causes an APPARENT increase in focal length due to the cropping. This has the effect of using a lens with a narrower angle of view, the same as using a telephoto lens. (Luckily, the sweet center portion has the sharpest part of the image).

The image edges which may not be sharp, or have aberrations are cropped in-camera. For the user, it’s easier to remember by multiplying the focal length of the lens they are using with the factor for that particular body, and that gives us the APPARENT focal length.

A lot of the confusion can be eliminated by using the term APPARENT rather than EQUIVALENT. for example, on my Sony Alpha 700 (which has a 1.5x multiplier for 35mm lenses), it would be more accurate to say that my Minolta 50mm lens has an APPARENT focal length of 75mm, rather than saying my Minolta 50mm is EQUIVALENT to 75mm.

This apparent increase in focal length does not affect the aperture, so the APPARENT focal length of 75mm is still at a fast f/1.7. This will serve as an excellent portrait lens, since it can frame head and shoulders perfectly, but you’ll find yourself having to move back when you want to include more of the scene.

For most wildlife photographers, birdwatchers and even landscape photographers, the apparent increase in focal length can be a unexpected blessing – they get more ‘bang’ for the buck from their existing lenses. When coupled with the higher ISO capabilities of DSLR cameras and in-camera image stabilization that will let them handhold the camera in situations that would have required them to lug along a heavy tripod.

If you’re using a MACRO lens, such as, for example my Sigma 50mm f/2.8 (a very sharp lens with a true 1:1 macro capability) the apparent increase in focal length permits the macro subject to be fill the frame without moving in as close. Since the stand-off distance is greater, more light can reach the subject. The increased distance also helps when photographing skittish subjects that are likely to fly or hop away if approached too closely.

When the subject is framed in the Sony Digital SLR, it is seen that the Depth of Field is greater for the same magnification when compared to using the lens on a 35mm film camera like my Minolta Dynax 800si. This is a great advantage for macro-photography where depth of field and subject lighting are always problematic.

The whole situation is different when it comes to wide angle lenses. This is where most photographers are ready to burst into tears. The 1.5x or 1.6x multiplier effect holds good on the wide angles too, and this means that a normal wide angle like 24mm lens which would give a 74 degree field of view on a 35mm format camera will now only provide a FOV of 62 degrees or so, approximately that of a 35mm lens. In the same way, an ultra-wide 16mm becomes an apparent 24mm a 28mm is an apparent 42mm and a 35mm lens behaves like a 52.5mm normal lens.

Given the fact that most wide angle lenses are EXPENSIVE, no photographer would like to see his investment reduced to a moderate wide-angle or a normal lens. However, such is life. You win some, you lose some. To get a true wide angle on the Sony Alpha 700, I would have to invest in a 18mm to get 27mm (luckily, that’s included in the zoom range of my Sony 18-200mm lens that I bought with the camera). Since the 18-70mm is bundled as a kit lens, most owners will have at least a 27mm wide angle, albeit a slow one).

To get the 24mm, we’d have to invest in the very expensive Sony 16-105mm Zeiss coated zoom lens (apparent focal length 24- 157.5mm). Buying a faster wide-angle prime lens would be prohibitively expensive for any amateur, and even professionals would hesitate.

My advice? If you really need to shoot wide angle, just use your film camera. You can still buy a fine Sigma 24mm f/2.8 AF at a reasonable price. The Sigma 24mm is a good deal, since it had a matte black Zen finish that tended to flake off, giving the lens a “very used” appearance and usually marked down. This is just cosmetic, and does not affect the lens performance in any way.

The same Sigma lens was re-badged and sold by Ritz as their house-brand Quantaray lens, but with a different, more durable finish – but it’s still the same lens. Don’t be fooled by the appearance of either lens – this is a very high quality lens. Besides, you can always use the Sigma on the digital SLR as an apparent 35mm f/2.8 prime lens in place of a ‘Normal’ lens. You’d pay hundreds more to get a similar “designed for digital” Nikon, Sony or Canon lens.

Of course, all this talk about crop factors and multiplication factors will become moot when Full Frame digital SLRs become common. Canon already has one, and Nikon and Sony will follow shortly. In fact, I would not be surprised if the Sony Alpha 900 was not released in a few more months. When that happens, lenses will behave as they were designed and there will be no more confusion.

As for me, I rather like the fact that my Tamron 70-300mm now behaves like a 105mm-450mm super-zoom. With the Image stabilization turned on, I can actually hold that baby steady enough to use hand-held.



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This work by Ajoy Muralidhar is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.
text and images © 2008 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners. thank you for visiting olympuszuiko.

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Some more Fall pictures. These were taken near Dufief Pond, and at Morris Park near Rockville. A couple are from Turkey Run State Park off of the GW Expressway. This year, Fall was pretty spectacular, even if it seemed to come a little late. We had a generally warmer than usual Fall this year, and the rains came just as the leaf color was reaching it’s peak, so I probably did not get the very best pictures, especially since I was only able to get out during the weekends.

Nature waits for no man… and so it is with Fall colors. I wish I could take a week off during the peak Fall days, but that usually impossible because it’s the busiest time of the year at work. Most offices are winding down projects and programs in preparation from the Holidays, and being able to get outside and spend some time communing with Nature is a welcome respite.

These pictures were taken on short hikes with my daughter Sunny – she loves being out in the woods. I was using my black Olympus Trip 35. I don’t get that one out much, since I am afraid that I will scratch the black finish. The Olympus Trip 35 never ceases to amaze me – the simplicity of the camera belies the extremely sharp lens with its beautiful color rendition and forgiving zone focus system. You can hardly ever go wrong with this little camera.

Compare these with the pictures of Dufief Pond taken with my OM-2n and Tokina RMC 70-210 f/3.5


Olympus Trip 35 – Dufief Pond
Olympus Trip 35 – Dufief Pond
Olympus Trip 35 – Dufief Pond
Olympus Trip 35 – Dufief Pond
Olympus Trip 35 – Dufief Pond
Olympus Trip 35 – Turkey Run
Olympus Trip 35 – Morris Park
Olympus Trip 35 – Morris Park
Olympus Trip 35 – Turkey Run
Olympus Trip 35 – Turkey Run

Olympus Trip 35 – Dufief Pond
Olympus Trip 35 – Morris Park Woods
Olympus Trip 35 – Turkey Run
Olympus Trip 35 – Turkey Run
Olympus Trip 35 – Turkey Run
Olympus Trip 35 – Turkey Run
Olympus Trip 35 – Morris Park
Olympus Trip 35
Olympus Trip 35 – Berries, Westminster

Photographed with an Olympus Trip 35, Fuji Super 200 film. Zone Focus at 6ft, 10 ft and Infinity settings.


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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Earlier this summer, I as testing my Toyo 500mm lens, happened to stop by at the Lady Bird Johnson Park off GW Parkway. The Navy memorial is located at one end of the park. Park affords a great view of the Washington Memorial and the Jefferson Memorials across the Potomac river. The other lenses I had that day were the Zuiko 200mm f/4 and the Zuiko 35-70mm f/4 and the reliable old Olympus OM-2. I figured it would be a great to be able to compare the lenses, so busily switched lenses for these shots – the early summer evening ensured that there was lots of light on the Memorial buildlngs, but most of the Potomac river was in shadow. It was a challenge to handhold the Toyo Fivestar 500mm lens for the shot of the Washington Memorial. Next time I’ll remember to lug a tripod along.


Zuiko 35-70mm f/4 at 35mm
Zuiko 35-70mm f/4 at 70mm
Zuiko 200mm f/4
Zuiko 200mm f/4
Toyo 500mm f/8 at f/11
Toyo 500mm f/8 at f/11
Zuiko 35-70mm f/4 at 70mm
Zuiko 200mm f/4
Toyo 500mm f/8 at f/11

Photographed with an OM-2, Zuiko 35-70mm f/4, Zuiko 200mm f/4, Toyo Five Star 500mm f/8. Film was Fuji Superia 400, and exposure was calculated with the Sunny 16 rule. Exposure for all 3 lenses was 1/500 at f/11, using a Polarizer.


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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First roll off my Olympus 35 RC. I finally got around to changing the seals on this old mechanical beauty – the Olympus 35 RC was one of the last mechanical Rangefinders that Olympus made. The RC has an Auto mode – it’s a shutter priority system. You set the shutter speed, and when the camera is on Auto, it will set the Aperture. I prefer using the Sunny 16 rule, and was glad that the RC offered a manual override that allows me to set the aperture as well.

I was very curious about this particular camera – it’s very similar to my Ricoh 500G, and I had been looking for an Olympus rangefinder for a long time. The camera is a joy to use.. the operation feels smooth and precise, and feels comfortable in the hand. The Olympus RC details are in the in the Olympus Cameras page along with a description.

All of these pictures were taken near my brother-in-law’s house in North Potomac, and in the grounds of the park adjoining the neighboring Dufief School. As can be seen, the lens on the Olympus RC is outstanding. I love the way it renders the Fall colors. These old cameras had single coated lenses, and that did something magical for the color and bokeh given the right lighting. This is something that I feel the new multi-coated glass/optical plastic lenses cannot replicate. But again, maybe it’s just my imagination.


Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC

Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC
Olympus 35 RC

Photographed with an Olympus 35 RC rangefinder camera, Fuji Super 200. Exposure was 1/250 at f/8 and f/11


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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Sauter’s Delight is a farm located just outside of Westminster, MD on Old Bachman’s Valley Road. It’s very picturesque, and I have photographed it several times. Also, since it’s easily accessible, because it’s easy to park by the roadside without having traffic whizzing past all the time. These were taken over the course of the year, from Late Winter through Early Summer to Late Summer with different cameras, lenses and film using the Sunny 16 rule.


Late Winter, OM-1, Zuiko 50mm f/1.8
Late Winter, OM-1, Zuiko 50mm f/1.8
Early Summer, OM-2, Vivitar 24mm f/2.8
Early Summer, OM-2, Sigma 35-105 (60mm)
Late Summer, OM-2, Zuiko 200 f/4
Late Summer, OM-2, Zuiko 200 f/4

Photographed with an OM-1 and OM-2 Camera, Zuiko 50mm f/1.8, Sigma 35-105mm, Zuiko 200mm f/4 and Vivitar 24mm f/2.8 lenses on Fuji 200 and Fuji 400 film. Exposures ranged from 1/500 at f/16 to 1/250 at f/8


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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When I was looking through the Blog Stats for Olympuszuiko, I realized that this is the 100th post. Although I’ve been photographing for  many years, it’s only been a year (almost) since I started WRITING about my experiences with photography and with Olympus and other manual cameras. 

My wife has been telling me for a while to purchase a digital SLR and be done with the expense of film development etc, since I can use my beloved Zuiko, Kiron, Minolta and Vivitar lenses on most digital SLRs with the proper adapter. My T-mount lenses can easily adapt as well. Besides, it would also keep me from continuing to buy bits and pieces of equipment – lenses, bodies and other camera paraphernalia.

While that is true, I would definitely miss the feel of my beautiful manual cameras. My Olympus OM-1, OM1n, OM2, OM2n, OM-10 and OM-PC AND my Minolta Dynax 800si, the Ricoh CR-5, the Yashica TL-Super and the heavy Fujicarex II. Besides, if I gave up film completely, what would I do with the fixed lens cameras – in particular the Olympus Trip 35 cameras, the Ricoh 500G and Olympus 35 RC and Yashica Electro GSN rangefinders? To say nothing of the Pen EE half frame. They would end up on a shelf and slowly rot.

Still, progress cannot be denied. I have been looking into purchasing a Digital SLR for a while, and while it would seem natural for me to purchase an Olympus DSLR – perhaps the E-410 or E-510, but I’m not comfortable with the manual Zuiko compatibility issues, since even with the E-series Four-Thirds to OM Zuiko lens adapter, I will not be able to use the manual Zuikos stopped down to f/11 or f/16 which I use for most of daytime photographs. On top of that, my Minolta AF lenses would languish.

A better option for me is the Sony Alpha series cameras either the Alpha 100 or the new Alpha 700, with their full compatibility with all Minolta AF lenses, including my 3rd party Phoenix, Tamron and Sigma AF lenses. I use them quite a lot, especially the Phoenix 28-105mm and I would definitely be lost if I could not use them on any digital camera I ended up buying. I could use all my Zuiko and other Olympus Mount lenses on the Sony Alpha with the Bower adapter. I’ve used the Bower Minolta Maxxum-OM adapter successfuly on my Dynax 800si and have been pleased with the results.

I’m curious about the Sony Alpha 700, when I have a chance to actually try it out, perhaps I’ll be able to make up my mind. I have heard that Sony has fixed the “noise” issues that were a problem at 400 ASA and above and that the camera is much more rugged. I like the “rugged” part. Can’t ask for the digitals to be comparable with my manual cameras, but I’d sure like something that I could take on a hike without being afraid that it’d would die on me.

I’ve enjoyed writing about my cameras and lenses, and my feeble attempts at photography. As I look over the pictures that I have taken over the past year with a critical eye and compare them with photographs that I have made over the past 9-10 years, I realize that I have made progress in some areas and still need to work on several others – most notably, exposure issues, composition and lens selection.

Oh, well.. like the old saying goes – “the unexamined life is not worth living”. I guess it’s the same for photography. One last word.. I get about 200 hits a day, mostly people who are looking for information about a particular camera or lens. I am grateful to all those who stop by and read my blog… and occasionally leave a comment on a post.

Thank you for stopping by.


text and images © 2007 ajoy muralidhar. all names, websites, brands and technical data referenced are the copyright or trademark of their respective owners.
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The Zuiko 100mm f/2.8 is one of the best lenses made by Olympus. It’s a sweet lens… and a pleasure to use. It is very small, just a couple of millimeters longer than the 50mm f/1.8. When set at f/4, it’s possibly the best portrait lens there is. But it’s great for scenics as well, pulling the scene just enough to focus on the interesting areas, and leaving the behind the urban clutter (signs, poles. wires etc) that are the bane of photographers everywhere. I took the Zuiko 100mm along with an Olympus OM-2N to photograph the Fall colors.


Fall – Zuiko 100mm f/2.8
Fall – Zuiko 100mm f/2.8
Fall – Zuiko 100mm f/2.8
Fall – Zuiko 100mm f/2.8
Fall – Zuiko 100mm f/2.8
Fall – Zuiko 100mm f/2.8

Fall – Zuiko 100mm f/2.8
Fall – Zuiko 100mm f/2.8
Fall – Zuiko 100mm f/2.8

Photographed with an OM-2N and Zuiko 100mm f/2.8 lens, Fuji Super 100 film, overcast conditions 1/125 second at f/5.6


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