Macrophotography


Early Spring is a great time to be out in the woods, especially on a sunny day – the trees may still be bare, but the forest floor is bursting with life… the under-story plants, shrubs and smaller trees rush through their flowering and leafing cycles quickly, to take advantage of the unrestricted sunlight – in a few weeks, once the trees leaf out, the canopy blocks off most of the light, and the small bushes go into the “quiet survival mode” until Fall when they get their chance in the sun again!

I’ve been out with the Sony Alpha 700 and the Tamron 70-300mm f/4-5.6. The choice of lens for woodland photography may seem surprising, but I find that the Tamron is very useful – the extended zoom range (the 70-300mm is equivalent to 105-450mm) on the Sony Alpha provides an useful stand-off distance so one can zoom in on an intresting flower or bud from a distance of at least 5 feet away without having to brave the underbrush and wicked looking brambles – the woods around here are chock full of wild raspberries and dog rose brambles. This also has the advantage of not blocking the light.

Besides, the Tamron 70-300mm is also a 1:3.9 macro, and since can focus down to 5 feet at the extended end of the zoom range, it does a great job. Moreover, I marvel at the fact that the Sony’s built in anti-shake allows me to handhold the 450mm equivalent lens. I would never have been able to do that with my manual Olympus bodies or even the auto focus Minolta 800si.

By the way, I purchased my Tamron lens about 8 years ago, back in June 2000 – I know they still make this lens, but I am not sure how the build quality has changed, or if it is still made made in Japan. I’ve always been very pleased with the Tamron, and even more so now…. with it’s super-zoom length of 450mm f/5.6 and equivalent when mounted on the Sony Alpha 700, it’s a formidable piece of optical engineering, and very cheap at the price. This is a true “cheap awesome lens”.


Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm

Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm
Tamron AF 70-300mm

Photographed with a Sony Alpha 700 and Tamron AF 70-300mm f/4-5.6 lens. I used a Polarizer.



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olympus/zuiko 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 olympus/zuiko.

Mid-April is the time for flowering dogwoods and vast expanses of wild mustard growing in the fields all over Carroll County… later in the year, these fields will be planted with Soya beans or Corn, but for now, they are just a golden mass of flowers, gently swaying in the slightest breeze. The dogwoods are something to look forward to, as they appear just as the Cherry Blossoms and Magnolias are fading, and they are much more durable blossoms. April is also the time of heavy rainfall here in Maryland, and delicate blossoms like the cherry don’t hold up well. Here are some of the pictures I took in Gaithersburg, and along Rte 27 north of Mount Airy, on the road to Westminster, MD. Mostly flowering dogwoods and fields of mustard blossoms – and a few redbuds.


Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Redbud
Redbud
Redbud
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Pin Oak flower
Birch flower

Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Redbud
Dogwood and Mustard
Dogwood and Mustard
Thistle
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard
Dogwood and Mustard

Photographed with a Sony Alpha 700 and Sony 18-200mm f/3.5-6.3 Zoom lens. I used a Polarizer. Close-up of Pink dogwood photographed with a Sigma 50mm f/2.8 Macro 1:1 lens with Tiffen 812 warming filter



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olympus/zuiko 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 olympus/zuiko.

Here’s some additional history on DO Industries – apparently they go back even further than I thought. The original company was founded by Ernst Gundlach, who used to work for Bausch and Lomb. After parting ways with the B and L in 1878 (unwillingly, it seems), he partnered with Lewis Sexton and opened a Optical goods business.

For a while, Sexton ran the business while Gundlach left to work as an Optician in Hartford Connecticut. Sexton was joined by JC Reich and J. Zellweger. On Sexton’s death in 1884, Gundlach returned to the company he had founded, and reorganized it. After about 11 years, Ernst Gundlach left the company again, and formed a rival company called the Gundlach Photo-Optical Company, which was finally acquired by Wollensak in 1905.

The original Gundlach Optical Company continued to operate in Rochester, first acquiring Milburn Korona cameras and then in 1902 they acquired the Manhattan Optical Company and renamed themselves the Gundlach-Manhattan Optical Company. In 1926, they were renamed as the Gundlach Manufacturing company. In 1928, they were taken over by a John Seebold, and were renamed “Seebold Invisible Camera Company” (no idea what they were making).

After taking a beating during the Great Depression, they moved to Fairport in 1935. They survived until 1954, when they were acquired by Burke and James of Chicago and reorganized as the Dynamic Optics Inc, with Mr. David Goldstein as president. Dynamic Optics ceased operations in 1972 and were reorganized as D.O Industries. The rest of the company’s history can be found on the Navitar website.

References:
A History of the Rochester, NY Camera and Lens Companies
Gundlach is also referenced in the famous Lens Collectors Vade Mecum by Wilkinson and Glanfield.

My original post discussed the use of the D.O Industries 135mm Enlarging lens as an excellent bellows lens for Macrophotography with the Sony Alpha 700



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olympus/zuiko 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 olympus/zuiko.

Anyone ever hear of D.O. Industries? I had never come across any lenses from them until I suddenly ran into this little beauty on EBay, going really cheap. It seemed to be an enlarger lens, but it had what appeared to be a T-mount type threaded mount. A quick email ( an even quicker response from the seller) confirmed that the diameter of the threaded end was indeed 42mm, so I took a chance on it and picked it up, since I was looking for a 135mm lens that would fit on my Spiratone Bellowscope.

I already have a nice Spiratone 150mm f/4.5 bellows lens, but I’m the curious type, and more than that, the name of the 135mm lens intrigued me. The lens itself is small, and solidly built – probably 4 element (maybe 6). Not sure if it is coated. The body looks old and appears to have seen much use, and the paint has faded, but nice glass. It was probably a workhorse lens on someone’s enlarger for many years. It even came with the retaining ring, which is rare these days.

I did a little bit of research on D.O. Industries, and here’s what I came up. Apparently they were an importer and distributor for Fujinon lenses, and they also sold lenses under their own name (rumor has it that D.O lenses are made by Fuji. The optical quality certainly seems to bear that out).

D.O. Industries was started by a gentleman by name David Goldstein in 1972. The company is still around. They are now called Navitar, and you can read their timeline here. I’m glad they’re still around. They seem to be doing well in the current digital era with new imaging products. Innovate, Evolve or Die, right? The photography marketplace is pretty ruthless, with old-timer companies closing down almost every day.

In case no one’s noticed, practically every 3rd party lens company had names ending with –AR. It seems to have been vogue with photographic companies back in the day. You see products with names such as Vivitar, Albinar, Astranar, Rokunar, Lentar, Kitstar, Macrotar and so on. I’ve often wondered why.

When I tried to fit the lens to a T-mount, I noticed that the thread, while being very close, was just not right. It seemed to be more like 41mm, but the pitch was OK. I got around this by wrapping a piece of light cotton sewing thread on the lens thread, and it works just fine. Curious. As long as it works, I am happy.

The advantage of using a longer focal length lens on the bellows is that it permits a longer “stand-off” distance. A short focal length lens (35mm, 40mm or 50mm) can give greater magnification, but the focusing distance is very short, which means that the light is cut off drastically, and one has to use supplemental lighting. The longer focal length bellows lenses (75mm, 135mm and 150mm) can focus from 18 inches to as far as 3 feet away, which lets a lot of ambient light get to the subject. Besides, there’s room for the tripod legs if the subject is 24 inches or more away.

Since I was trying out this lens indoors, I just used a pedestal lamp with the Sony’s WB setting to Tungsten lamp. I used a Auto ISO setting. The exposure was 1/5 to 1/8 second, and I was able to stop down to f/8 to increase the depth of field. If I were outdoors in natural sunlight, I would have used 100 ISO and a smaller aperture.

The tripod permits the longer exposure without shake. To avoid inadvertent camera shake during release, I used the Sony’s self timer setting (Drive Mode button, and then select self timer 10 seconds). This ensures that there is minimal shake. The Sony doesn’t have mirror lock-up, but it’s superbly damped. The mirror return ‘snap’ doesn’t seem to affect the image in any way.

For subjects, I used some of my wife’s traditional jewelry. Without more ado, here are the pictures

D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700
D.O. Industries 135mm f/4.5 on Alpha 700

The Bellows mounts to my Sony Alpha 700 with a standard Minolta AF-T mount adapter, and the whole thing goes on a cheap Velbon tripod. Nothing special. Here’s the setup.

D.O. Industries 135mm f/4.5 on Alpha 700 Setup
D.O. Industries 135mm f/4.5 on Alpha 700 Setup
D.O. Industries 135mm f/4.5 on Alpha 700 Setup

Photographed with a Sony Alpha 700 DSLR, D.O. Industries 135mm Emlarger lens (Fuji??) fitted on a Spiratone Bellowscope. Auto ISO with Tungsten light WB setting. Exposure was 1/5 second and 1/8 second at f/8 from a distance of about 24 inches. I used a Velbon Tripod.


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olympus/zuiko 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 olympus/zuiko.

A few weeks ago, I found this vintage Hansa 50mm f3.5 on eBay at a very reasonable price. It was new in the box, and the seller told me that it was an enlarger lens and that I’d have to find some kind of step-up adapter to get it to fit on M42 Pentax thread mount. That was puzzling, but a little bit of research told me that it was probably a M39 mount enlarging lens. This means I would have to find a ring that would step it up to the M42. (The M42 is a 42×1 pitch thread while a T-mount has a 42×0.75 pitch fine thread.)

After a little searching, I found this little aluminum adapter ring from a seller in the Ukraine, so I took a chance. Once I got it, I fitted it on the Hansa lens, and voila, it was just right size to mount on a M42 mount. I figured that it should also fit on a regular T-mount lens, since the pitch is so close. It works, but it wont thread in all the way because of the pitch difference, so don’t force it. As long as it grips a thread or two, it’ll be fine. Besides, the Hansa is so small and light, it does not matter.

Hansa 50mm f/3.5 lens
M39-M42 Adapter Ring

A note regarding macrophotography on the cheap – as an amateur, I cannot spend large amounts of money on specialized equipment, so I am always on the lookout for “cheap awesome lenses” and other accessories. One such example is Spiratone macro equipment. Spiratone sold 2 types of bellows – the single rail rack and pinion bellowscope with T-mount fittings and the double rail Macrobel with camera mount specific fittings.

Spiratone also marketed a tiny 35mm Macrotar lens, a 75mm Flat Field Macro lens (for copying, possibly) and a 150mm Macrotel lens, all with a T-mount, and designed to be used with their bellows and copy systems. They appear with some regularity on eBay, and if one is really interested in real close up macrophotography, it’s possible to put together a macro kit cheaply. It’s possible, with a little bit of luck. I can attest to this.

Patience is key here, and one has to be willing to wait for the right price. My goal was to acquire a full set of bellows macro equipment – bellows, bellows lenses and adapters for less than $200. I was never able to ascertain if Spiratone also sold a 50mm bellows macro, so when I found the Hansa 50mm f/3.5, I was very happy. Check out the Macro section for pictures of the equipment.

I mounted the Hansa to a Spiratone Bellowscope and with a Minolta AF -T mount adapter on the other end, I mounted the Sony Alpha 700. The Bellowscope gives an extension of about 160mm and is pretty light.


Here’s what the Macro set-up looked like –

bellows setup for Macro
bellows setup for macro
bellows setup for macro
Spiratone 75mm f/3.5 Flat Field Macro

These are pictures I took with the Sony Alpha 700 and the Hansa 50mm f/3.5. Regarding the macro enlargement – the Sony Alpha 700 has a APS-C size sensor (23.5mm x 15.6mm) so at full extension, I think I was able to get approximately a 4:1 magnification. That’s pretty respectable.

Scale Image 1
Scale Image 2
Sony A700 and Hansa 50mm f/3.5
Sony A700 and Hansa 50mm f/3.5
Sony A700 and Hansa 50mm f/3.5
Sony A700 and Hansa 50mm f/3.5
Sony A700 and Hansa 50mm f/3.5
Sony A700 and Hansa 50mm f/3.5

I’ve also included a couple of pictures with the Spiratone Flatfield 75mm f/3.5 fitted on the Bellowscope. Again, the magnification is around 4:1 at full extension. Second picture is about 2:1 magnification. I’ll post some pictures soon with the 35mm Macrotar and 150mm Macrotel bellows lenses.

Sony A700 and 75mm Flat field Macro
Sony A700 and 75mm Flat field Macro
Sony A700 and 75mm Flat field Macro
Sony A700 and 75mm Flat field Macro
Sony A700 and 75mm Flat field Macro
Sony A700 and 75mm Flat field Macro

Photographed with a Sony Alpha 700 DSLR, Hansa 50mm f/3.5 and Spiratone Flatfield 75m f/3.5 on Spiratone Bellowscope.



Creative Commons License
olympus/zuiko 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 olympus/zuiko.

Early January isn’t the best time for macro-photography – the usual subjects, flowers, insects, ferns, lichens, mosses are mostly absent and there isn’t much greenery anywhere. There’s usually a lot of bright winter sunshine in Maryland around this time, even if there isn’t much snow. It’s cold, and that adds to the challenge. Bright colors are conspicuous by their absence… one has to be imaginative, and look for interesting patterns, textures etc that might be good macro subjects.

Indoor macro-photography is another matter altogether, there’s a wealth of interesting subject matter around the house to photograph – coins, food, grains, spices, toys, gadgets, fabrics, clothing details, you name it…. However, indoor macrophotography has another problem – that of lighting. It’s hard to get enough lighting for hand-held macro photographs, unless a Flash unit is utilized. For the most part, shooting near a sunny window takes care of the lighting issue. Here are some pictures that I took of everyday objects – shoe brush bristles, fruit, a crossword puzzle, brooms etc.


Shoe brush bristles
Crossword Puzzle
Orange
Orange
Broom
Broom

A note about camera care – Using any camera outdoors when it is cold requires a bit of care, but digital cameras need some extra precautions… handling the little buttons is a little more difficult since numb fingers lose their dexterity. Make sure you have the camera strap securely around the neck to ensure against dropping the camera. If that’s not convenient, wrap the strap around the wrist a couple of times.

Keep the camera dry, and warm as possible. Keep it close to the body, covered with a jacket when you’re not shooting. Batteries don’t like cold conditions, and who knows what the cold does to the electronic innards? Most cameras have an “operating” temperature range specified, but I always take that with a grain of salt. Better to exercise extra care than to be sorry. Moreover, when going back inside from very cold conditions, make sure you put the camera and lens inside a large zip-lock bag so that moisture does not condense on the camera. Keep it in the bag until it reaches room temperature – at least ½ hour, if not more.

The Sony Alpha 700 has environmental sealing, but it’s not weather-proof. The seals can only prevent accidental entry of dust, sand and moisture, but I don’t think ANY camera is designed for prolonged use in adverse conditions (maybe they make special cameras to MIL specifications for the armed forces, but I haven’t come across any yet).

Enough digression – Anyway, here I was, out in the backyard, looking for interesting things to photograph… it was late afternoon, and the winter sun was already low in the sky – the light was yellowish-white and the shadows were getting longer by the minute. Here are some of the objects I found around the yard… leaves, bark, mulch, some green shoots on potted plants etc.


Tender leaves
Jasmine tendril
Blue Atlas Pine
Cedar Pine
Decayed mulch
Lichen on Dogwood
Electric Meter
Electric Meter
Leaf at Sunset
Leaf, in shade

I used the Sigma 50mm f/2.8 macro lens… it’s one of my favorites, I love it as much as I love my Panagor 90mm f/2.8 (that’s another superb 1:1 macro lens by Kino Precision. I can mount it on the Sony Alpha 700 with the Bower Minolta AF-Olympus OM adapter).

The Sigma 50mm is a true macro lens, and it goes up to a 1:1 magnification. The Sony A700’s crop factor of 1.5x gives the Sigma an apparent 75mm focal length, allowing it to be used from further away. This additional stand-off distance can be an advantage when it’s not possible to get too close to the subject for whatever reason… especially if they are skittish bugs…

Which brings us to this little fellow – this tree shield (stink) bug somehow made its way into the house and was wandering around. My daughter Sunayana found it and convinced her cousin Vasudev to capture it for her. We took a few pictures of the critter before letting it loose outside in the late afternoon when it was a little warmer.

I looked him up on the ‘What’s that Bug?’ site and on the Bug Guide. It’s a Stink Bug, belonging to the order Hemiptera, family Pentatomidae, and genus Euschistus. Pretty complicated name for a little bug. It’s common to see stink bugs during the summer months when there is plenty of greenery around to feed on, but what was it doing running around in mid-winter? I used the Sigma 50mm for this as well. Here are the pictures of him on the kitchen counter, and later on the deck railing. I took the last picture as he was scuttling away to find a corner.


Shield Bug
Shield Bug
Shield Bug
Shield Bug
Shield Bug
Shield Bug

Photographed with a Sony Alpha 700 dSLR and a Sigma 50mm f/2.8 Macro lens.



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olympus/zuiko 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 olympus/zuiko.

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.



Creative Commons License
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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