Olympus Trip 35

I admit it – I am smitten by the black models of the old metal bodied manual cameras. Why black? In the old days BP (before plastic) black was the color of the “professional” model cameras. Why? I’m not exactly sure, since there are so many contradictions here… perhaps the black was less conspicuous than the shiny chrome bodies, perhaps they reflected less light. (but then, some of the BIG lenses were made in a white finish, ostensibly to keep them from heating up too much in the sun.)

The fact remains that black became associated with the “pro” as opposed to the chrome “consumer” models. Now some cameras were made exclusively in black, pro or not, but that’s an exception. For some reason, fewer black models seem to have been made as well, and that adds to the mystique.

Consider this… the black was usually enamel paint on the brass body, which did not hold up as well as the chrome finish – consequently, the likelihood of the black enamel wearing off and showing the metal underneath was high, as seen from the ubiquitous ‘brassing’ that is common on black body cameras. A black camera with a mint (read as no brassing) finish usually fetches a much higher price than its chrome counterpart because of its relative rarity.

I am not sure what the production ratios of chrome to black models were in the manufacturing mix – there are probably more black-bodied cameras out there than we realize. Taking the OM line for example – the OM-1 to OM-4 are considered the professional bodies, there are far more chrome versions than black, which gives the lie to the notion that black = professional.

Now consider the consumer version of the OM bodies, viz, the OM-10 through OM-40/PC). Since they are for the regular Joe Amateur, they should be all be chrome, right? But no – it turns out black versions were made for these cameras as well. The OM-40/PC

was made ONLY in a black version with rubber armored bodies, so we won’t take them into consideration.

Looking at the all the OM-10 cameras that regularly show up on eBay, I was lulled into thinking that they were only made in chrome – then Bam! I came across a BLACK OM-10. Never saw one of those before. It was in great condition too – not a bit of brassing.

Sheer chance plays a big part as well. The first Olympus camera I purchased was a black OM-1.

It wasn’t because it was black or anything. I was looking at manual cameras in a pawn shop one day, it was just that the shop had 2 Olys, an OM-1 and an OM-PC and I picked the OM-1. At that time I did not not know anything about the Olympus OM System, it was cheap, and looked much more sturdy than the OM-PC with its rubber body. That’s all.

Most of the old manual lenses were black. The black lenses looked great on black cameras and looked good on the chrome versions, since the leatherette on the chrome was black as well, the black lenses blended right in. Lots of AF lenses were made in chrome/silver plastic bodies though. They look fine on the chrome bodies, but look hokey on the all black bodies. But that’s just my opinion.

All the lenses I have for my Minolta Dynax 800si (late 90’s manufacture, so naturally, big black plastic body) are black. I resisted the impulse to purchase the silver/chrome Maxxum AF lenses. Anyway, the only Maxxum lenses I purchased new were a nice Maxxum AF 50mm f/1.7 when I bought the camera. The other new lenses were a black Tamron 70-300mm f/4-5-6 and a black Phoenix 28-105mm f/2.8-3.5. The rest of my Minolta AF lenses were bought used off of eBay and Craigslist. Hey, I’m Joe Amateur, remember? I have to go Cheap.

Now for anyone on the trail of a black body camera, please watch out for touched up or repainted ones. That is a strict no-no. Besides, they look so fake and terrible. I’d rather have a heavily brassed black camera than one which had a mint looking refinished paint job.

I’ve heard that Nikon had a program years ago where professional photographers working for the leading pictorial publications of the 70’s could send in their battered camera bodies (hey, they were out in the Amazon, Siberia, Australia, Sahara, the Himalayas… what can you expect?) to Nikon, and they would refurbish them and send them back. Even repaint them. I suppose that if the factory did the painting, one could not complain.

However, I have never heard of any of the other manufacturers having such a program, so I’d consider a new paint job on an OM as fake as a $3. bill. That said, an individual collector may decide to have one of his many bodies refinished with glossy black enamel and some jazzy leatherette. More power to them. A little brassing and paint loss, even a small ding or two never hurt a camera. Besides, they ARE from 30 years ago. And if one plans on using them as real shooters, a little wear and tear is to be expected.

Everything changed as manufacturers realized that they could make the bodies much more cheaply in plastic. One small glitch though – back then, the coating technology was not so advanced as now, and “chrome finish” on plastic looked awful and wore off really quickly. It was far easier to make all the bodies in black plastic. That became the new norm, and has stayed with us ever since.

Things changed again in the late 90’s – it became possible to make “chrome look” plastics, and lots of the later consumer model SLRS changed to the chrome/satin finish. Some point and shoots were even made in a “champagne” colored plastic body. With the coming of the digital point and shoot cameras, hard-wearing chrome plastic came into its own. So did colored plastics. But that’s another story.

Anyway. The ‘black’ bodies extended to the point-and-shoot cameras and the rangefinders as well. I have a black Olympus Trip (I love this one)
and a black Olympus 35 EC.

Recently, I found a black Yashica MG-1, a black Ricoh 500G (this is one case where the silver one looks cooler, but that just me). Rounding off the Black cameras are a Honeywell-Pentax Repronar Camera body with bellows,

and a black Ricoh CR-5.

I also have a black Yashica Dental Eye

( an FX3 type body, I believe).

The black models usually cost an average of 3 times the price of a regular chrome (and in some cases, where the camera is in excellent condition, much more.). Rounding off my black collection is an excellent Olympus OM-2n.

Keep in mind that the coating is just skin deep. Black or Chrome, it’s still the same camera. Don’t go out of the way or way over your budget to get one, unless you are comfortable with the price. Above all, make sure it’s a shooter. What good is a camera that’s only fit for a display case?

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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.


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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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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We were at Mt. Vernon a few weeks ago, in late Spring, before it really got hot and humid. It was a family outing , about 15 people altogether, including a bunch of kids. I had Sunny with me, and the Olympus Trip 35 (In addition, I had the Minolta Dynax 800si, but I’ll post those pictures later). It’s been a while since I took one of the Trip 35 cameras out with me – that’s because the little Ricoh 500G rangefinder has been in my daypack, and I usually just grab my pack and go.

Not this time – I made sure I had the Trip with me. It’s amazingly convenient – I wish the digital pocket cameras were as simple and rugged. In addition to all of this stuff, I was dragging a rolling insulated cooler filled with cold beverages for the family. I had no idea that the paths around Mt. Vernon were not paved, so I ended up dragging the darn pack through gravel. I really got a workout that day.

I must have been nuts to haul so much gear. It might have been worth it, if the beverages had been consumed. But Sunny and I got separated from the rest of the clan early on, and I was dragging around nearly full cooler for most of the day. Memo to self – keep it simple, and don’t ever make such a mistake again.

Sunny had a good time though, in spite of the heat. She loved the sheep pens with the Spring lambs, and although she’s too young for the historical significance, river cruise was a great experience for her. The Potomac river is pretty broad at Mt. Vernon, and it is a majestic sight. I wasn’t interested in the inside of the main house as much as I was interested in the outer buildings, the farms and the upper and lower gardens.

Here are additional pictures taken with my Minolta Dynax 800si.

Mt. Vernon – Olympus Trip 35
Mt. Vernon – Olympus Trip 35
Mt. Vernon – Old Crypt – Olympus Trip 35
Mt. Vernon – Boathouse – Olympus Trip 35
Mt. Vernon – Boathouse and Pier – Olympus Trip 35
Mt. Vernon – Farms – Olympus Trip 35
Mt. Vernon – Farms – Olympus Trip 35
Mt. Vernon – Lower Garden – Olympus Trip 35
Sunny Chasing Butterflies – Olympus Trip 35
Mt. Vernon – Olympus Trip 35
Sunayana by the river – love the tree bark texture
End of the Day – tired and sleepy

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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A couple of weeks ago, Jayaram and I took off intending to explore the white trail at Sugarloaf mountain. The white trail is one of several hiking trails, and its about 3 miles around the middle of the mountain, and takes one around the eastern slope where you can see some of the largest Tulip trees and oaks, and also some of the areas that have been hit with Gypsy moth induced oak decline. This has been a persistent problem in Eastern forests, and I sincerely hope researchers come up with a viable solution to stop further losses.

Anyway, we picked a nice afternoon for the hike, when the temperature was in the mid-fifties, and hardly any wind. Perfect weather. The trail at the upper levels still had lots of snow and ice, and there was plenty of slush and wet mud to navigate in some places. The trail is poorly marked in some spots, and we had to guess at a couple of places, but we eventually made it all round in about 2 hours. I’d rate this as a moderate trail, and a walking stick is a great help in some places, although it would be easier in summer.

I was traveling light, so I had just carried the Ricoh 500G rangefinder. Here are some of the pictures. I don’t trust the meter on the Ricoh, so I used the Sunny f16 rule on all the shots.

White Trail #1
White Trail #2 – Jayaram
White Trail #3 – AJ
White Trail #4

White Trail #5
White Trail #6
White Trail #7 – Oak Decline
White Trail #8
White Trail #9
White Trail #10 – Strong Offices
White Trail #11 – Duckpond
White Trail #12- Duckpond
White Trail #13 – Autostitched

Photographed with a Ricoh 500G rangefinder (40mm f/2.8, 1/250 second at f/11) on Fujicolor Super HQ 200 ASA.

More from the White Trail – these pictures were taken on another hike at Sugarloaf mountain that Sunayana and I had taken a couple of weeks earlier. This time the camera was an Olympus Trip 35. It was late in the afternoon, and the sun was low, which accounts for the yellowish light.

White Trail – Olympus Trip 35
White Trail – Olympus Trip 35
White Trail – Olympus Trip 35
White Trail – Olympus Trip 35
White Trail – Olympus Trip 35
White Trail – Olympus Trip 35

Photographed with an Olympus Trip 35 (40mm f/2.8, Zone focusing) Fujicolor Super HQ 200 ASA. Zone setting 3 meters and at landscape.

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 original Olympus Trip 35 was one of the most popular cameras ever made, and it is a beautiful piece of engineering. It is a fixed focus automatic camera that permits the use of film of only up to 400 ASA, and has a maximum shutter speed of 1/500 second. Manual aperture settings are possible, but only when using a Flash.

As one gets more familiar with the Olympus Trip, the few limitations it has seem trivial. In fact, it seems to possess all the qualities that make for an ideal street camera, especially since it was designed as a ‘visual notebook’ that could be carried anywhere, it is particularly suited for street photography.

Against the few limitations, consider these great features:

# It has a superb, professional quality Zuiko 40mm f/2.8 lens.
# It’s a moderate wide angle – so it can focus close, and has a great depth of field. The 40mm is a good compromise between 35mm and 50mm, and has no distortion.
# It is Automatic in function for daylight photography
# It does not need batteries, so no need to worry about the camera dying in the middle of the action
# It has a rugged all metal body, and can withstand rough use, like being tossed in a backpack
# It has a thumbwheel instead of the traditional cocking lever – its easy to operate with one hand, since the thumb can cock the shutter after every shot, even when carrying something in the other hand.
# thumb wheel allows the Shutter to be re-cocked without moving the camera from the eye. This allows the photographer to focus on the action instead on the mechanics of the camera film transport mechanism.
# It’s size and weight make it easy to hold, and it feels solid and steady.
# It is nearly silent, except for a soft click when the shutter is released, and a soft whirring when the thumbwheel is operated while cocking the shutter for the next shot.
# The camera back is cut away at the bottom so that the film cassette can be just dropped in instead of having to angle it in. This makes for quick and unobtrusive loading.
# It has a threaded lens ring, so it can take a screw on 43.5mm filter, since the CdS cells are located around the lens, any filter is compensated for. (I like using a yellow filter – ideal for Black & White photography)
# It can be mounted on a tripod, but a lightweight monopod is even better – its small, so the monopod is easy to hold, and it does not take up additional space. The monopod also makes a fine walking stick.
# Best of all, it is unobtrusive – no big glass lenses to stick into peoples faces. The camera can be easily concealed until needed against the body or in a jacket pocket.

And that’s not all — there is one other aspect of the Olympus Trip 35 that convinced me that it was DESIGNED for street photography.

I am referring to the Trip’s focusing mechanism. The Olympus Trip 35 belongs to the class of cameras that used a paradigm called Zone Focusing (or “guess focusing”) as their primary focus setting mechanism. The Trip 35 is automatic, so the shutter speed is set by the camera depending on the light conditions sensed by the bubble glass light meter surrounding the lens and the film speed. If the light is insufficient, a red flag will show up in the viewfinder, and the shutter button will not fire. (see photo below)

Zone focusing is a pretty simple concept – for daylight photography, the photographer sets the camera shutter ring to A (auto), and rotate the zone focusing ring to the desired distance setting. The Trip 35 has 4 zones – these are identified by little icons that represent subject distances. The icons are a head & shoulders, person and child, group, and mountains, which indicate 1m, 1.5m, 3m and ∞. The numeric equivalents for the icons are etched on the opposite side of the zone focusing ring.

Zone Focusing – Note the red icon (3m)
Distance scale (opposite side of focus ring)

The photographer simply guesses the approximate distance of the subject using the representative icons, and sets the particular zone icon desired. The Zone system is pretty forgiving, and it doesn’t matter if the guess isn’t very accurate. If a Flash unit is used, the Zones are set as usual, but the Aperture ring is moved off of A to the desired aperture setting depending on the Flash Unit used and the Subject distance.

Flash Aperture settings on Trip 35
Red Flag (insufficient light alert)

Here’s the kicker. The 3 meter icon (Group) is actually marked in RED. I did not understand why for a long time, but one day it hit me. For the 40mm Zuiko lens, 3 meters represents the distance at which a group of people can be photographed full-length, with their surroundings – as in street photography!

I’ve been asking around, and apparently other Zone Focusing cameras had the same type of marking. It seems apparent to me now that for street photography, all one needs to do is load up with some 200 or 400 ASA film. rotate the Zone focus ring to the Red icon, and shoot. The depth of field afforded by the wide angle lens will ensure that everything from 3 meters (approx 10 feet) to infinity will be in focus… so it’s “set and shoot”. Literally.

Note: I am suggesting faster film speed since this will prevent the insufficient light flag from preventing a shot in shadowed areas..

Check out another 40mm f/2.8 camera with similar features, but full Manual capability – the Ricoh 500G Rangefinder
Here’s more information on the Olympus Trip 35

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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For the 35mm format, the normal (or standard) lens is anything between 45 to 60 mm and is called by that name because it most closely approximates what the human eye sees, with no perspective distortion... Of course, the human eye has a wider viewing angle, but a lens with the same viewing angle as the eye would produce an apparently distorted image. Usually, the 50mm which has a 46° picture angle is selected by most manufacturers as their normal lens.

If you are into older cameras, you would probably have come across a few 55mm (43° picture angle) normal lenses, like the Olympus Zuiko 55mm f/1.2, or even a 58mm f/1.4 (an under-rated lens that came with the Minolta SRT 101) but they are relatively rare. The older fixed lens rangefinders and point-and-shoots pocket cameras from the late 1960s’-early 1970’s era had lenses of less than 50mm focal length – they were usually 40mm, 42mm or 45mm, making them very compact and ‘pancake’-like in appearance. Think Olympus Trip 35 and the Minolta 500G (both with their flattened 40mm f/2.8 lenses). Here is a simple lens angle table from Nikonlinks.com.

Don’t ever be fooled by the seemingly throwaway costs of the Zuiko 50mm lenses on Ebay and elsewhere. There are lots of discussion threads regarding the apparent superiority of the later, redesigned 50mm f/1.8 Zuiko lens over the older models. Like everything else, lenses underwent a continual redesign as better materials and lens coatings became available, leading to better manufacturing efficiencies and lower costs. The fact is, there are NO bad Zuiko 50mm lenses (unless of course, we dropped one – on concrete). They are wonderful lenses, superbly engineered, and will give great results every time.

Once upon a time, it was thought that all lenses gave their best, sharpest results stopped down – that was true in the 50’s and 60’s perhaps, but by the 70’s, the computerized lens design tools and improved optical glass permitted lens designs that were sharp even wide open. Of course, we would have a very shallow depth of field with the 50mm f/1.8 wide open – only a few inches. If we desire greater DOF, we have to stop down to f/8 or lower.

Before zoom lenses became ubiquitous, most people just had a camera body and a 50mm normal lens that came bundled with it. If they were serious enthusiasts, they would probably plunk down the money to eventually purchase a wide-angle — a 35mm or perhaps a 28mm (both are similar in construction, the 28mm is nothing more than a stretched 35mm) and of course a “portrait” lens. More often than not, this was the 135mm f/2.8 lens. At one time, this must have been the most commonly manufactured medium telephoto, that’s why there are so many around. Apparently, Rangefinders with interchangeable lenses could only go up to 135mm without fancy adapters… that probably had something to do with the 135mm mindset as well. What other reason could there be for the existence of such an odd focal length?

Thus, the vast majority of pictures were taken with the 50mm normal lens – the production runs for these lenses were huge, leading to lower costs, better designs and ever larger apertures, going up to f/1.8 for Zuiko (there are some f/1.7 lenses as well – I have a Maxxum AF 50mm f/1.7) for the low end kit lens. If you were a serious amateur and willing to pony up a little more, perhaps you got a sweet little Zuiko 50mm f/1.4. There were even larger apertures available. of course… I already mentioned that Olympus made a Zuiko 55mm f/1.2 lens and a 50mm f/1.2 – but they’re expensive, and in the realm of the professional photographer. Pick up a Zuiko 50 or 55mm f/1.2 lens, and you’ll see why – they are serious glass. For that matter, pick up any 50mm f/1.2. 😀

The extremely large aperture of the 50mm lens makes them ideal for available light photography – indoors or outdoors, in conditions where artificial lighting is not possible or where Flash is undesirable because they would destroy the ambiance and mood of the scene or subject. Natural (or available) light photography gives a sense of naturalness and realism to photographs, and has a certain unmistakable quality that is very attractive – this is true for color or black & white photos. It is possible to buy lenses in other focal lengths with large apertures, of course, but they are prohibitively expensive.

Many professional photographers have adopted the 35mm lens as their standard shooting (or normal lens). The 35mm has a 63° picture angle, which means the photographer can get closer to be subject, or include more of the subject’s surroundings from the same shooting distance as a 50mm. The 35mm is well-corrected for perspective distortion and can be used wherever a 50mm can. The disadvantage, of course, is the lens speed and cost. The commonly available versions are 35mm f/2.8, although a fast professional grade 35mm f/2.0 lens is also available. But why bother? I am a big advocate of high quality, low-cost lenses, and there’s no better deal than the Zuiko 50mm f/1.8.

For outdoors daylight photography with medium speed (100-200 ASA film), both the 50mm and 35mm are very useful, and the 1/2 stop difference between the 50mm f/1.8 and 35mm f/2.8 has no impact since we are most certainly shooting at f/16 or f/11 (perhaps f/8 on a cloudy day, certainly no wider than a f/5.6 for a very overcast day). Both the lenses serve well as normal lenses and are very good for architectural and street photography.

Sample pictures with the Zuiko 50mm f/1.8. You can also check out my earlier post Landscape Photography with the 50mm lens.

Zuiko 50mm f/1.8 #1
Zuiko 50mm f/1.8 #2
Zuiko 50mm f/1.8 #3
Zuiko 50mm f/1.8 #4
Zuiko 50mm f/1.8 #5
Zuiko 50mm f/1.8 #6
Zuiko 50mm f/1.8 #7
Zuiko 50mm f/1.8 #8
Zuiko 50mm f/1.8 #9
Zuiko 50mm f/1.8 #10

Photographed with an OM-1, 50mm f/1.8, Kodak Gold 200 film, Fuji Superia Xtra 200

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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