Telephoto


The Kitstar 200mm is a lens that I acquired very cheaply on Ebay last year – it was an impulse purchase, really, since I knew very little about the lens other than it had a OM mount, and I was intrigued by its unusual maximum aperture. My intention was to compare it with my much smaller and lighter Olympus OM 200 f/4 prime lens, which I absolutely love. I had used this lens on a OM body last spring, and then put it away, meaning to get back to it sometime.

The Kitstar 200mm is a distinctive lens, easy to recognize. It’s all metal and the rubber covering of the focusing rings is reticulated, instead of being checkered as is usual. Kitstar was the in-house brand of Kit’s Camera and they had their lenses made on contract by various manufacturers, so its hard to tell who the original maker is. The lens is solidly built and comes with a built in hood.

I don’t know of any lens makers such as Sigma, Tokina or Tamron who made a f/3.3 200mm prime lens, so who knows? Maybe its a f/3.5 rebadged as f/3.3. Kits Cameras was bought by Ritz Camera, and is part of their family of stores. Since Ritz has it’s own in-house camera brand (Quantaray), the Kitstar lenses are no more.

On the Sony Alpha 700, the 200mm f/3.3 lens becomes equivalent to a 300mm f/3.3 lens – that is really fast for a 300mm, and considering the price I paid for it, about $25 or so, it is a bargain. The weight of the lens makes it tricky to handhold, compared with the Sony 18-200mm (also equivalent to 27-300mm, but much slower, since it only goes to f/6.3 at the 200mm focal length).

Anyway, I could easily mount the lens on the Sony Alpha 700 with the Bower-made Minolta AF to OM adapter and took the lens for a spin. Here are the results. The Alpha 700’s anti-shake capabilites makes hand-holding easier, but it was still a challenge to avoid blurring. The Kitstar 200mm (apparent 300mm lens) has nice bokeh.


Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm

Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm
Kitstar 200mm

Photographed with a Sony Alpha 700 camera body and Kitstar 200mm f/3.3 OM Mount lens- I used a Bower Minolta AF-OM adapter and 72mm Polarizer (67-72mm step-up ring)


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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.

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Ever since the first signs of Spring, I’ve been out with my cameras, not wishing to lose any of the magic of the Great Annual Awakening of Nature. Maryland’s topography is so varied that even though it is such a small state, Spring arrives early in the southern part of the State, especially around Chesapeake Bay and the lower Potomac – almost a full month before it arrives at the Northern regions – near the Pennsylvania border. The rolling hills and valleys of Carroll county are decidedly cooler than DC and the annual cherry flowering takes place almost a week after the Tidal basin flowering

This year (2008) the the Cherry Blossom Festival kicked off on Saturday, March 29 – the flowers began blooming a couple of days before that, and on the 29th, it was close to approaching the peak – and it was 50 degree weather the next few days are likely to be cold and rainy, and we’ll lose a lot of the blossoms. I’m hoping that the flowers last until next weekend. The Festival itself runs until April 13th – but I’m afraid the flowers may be all gone by then. Here are the flowers.. as usual, it was a family trip, but we got separated looking for parking, and never caught up with the other car (which, incidentally, had our picnic lunch). My group ended up snacking at the refreshment stall behind the Jefferson Monument. I was able to walk around a bit under the trees, and here are the pictures. The crowd was very heavy on Saturday.


2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival

2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival
2008 Cherry Blossom Festival

Photographed with a Sony Alpha 700, Sony 18-200mm f/3.5-6.3 SAL18200 lens at Landscape setting and Auto ISO. I used a polarizer. The Shutter speeds ranged from 1/320 second in the Sun down to 1/50 second in the shade Here are the rest of the pictures.



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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.



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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.

I mounted the Soligor 500mm mirror on the Sony A700 using the Minolta AF-Olympus OM Bower adapter. The Soligor is a T-mount lens, but I’ve been using it with an Olympus T-mount for so long, the ring is hard to get off. I just mounted the Minolta AF mount adapter right on to the lens and then mounted it on the A700.

The light was poor, and since I was shooting in Manual Mode, I was using ISO 200. The slow shutter speed I was using was no help. Even though the image stabilization helps out, I’d recommend that with the 500mm lens, a shutter speed of at least 1/250, even with the anti-shake.

The bokeh from the lens did not show the characteristic mirror lens “donut” shape, but that’s probably because the diffuse light from the overcast sky did not cause any bright spots or highlights.

The pictures aren’t great, but I hope to do better the next time. Keeping in mind that the Soligor C/D 500mm behaves like an apparent 750mm lens, the possibility of being able to hand-hold the camera is in itself pretty remarkable.


Backyard Critters- Soligor/Sony A700
Backyard Critters – Soligor/Sony A700
Backyard Critters- Soligor/Sony A700
Backyard Critters – Soligor/Sony A700
Backyard Critters- Soligor/Sony A700
Backyard Critters- Soligor/Sony A700
Backyard Critters- Soligor/Sony A700

Photographed with a Sony Alpha 700 dSLR and Soligor C/D 500mm f/8 mirror lens 1/80 at f/8, ISO 200m White Balance at Cloudy.


text and images © 2007 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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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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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


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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That’s my nephew Vasu – a real milk lover. I was cleaning my Olympus OM 2n, wiping it down after a hike when spotted him sitting at the dining table with a glass and gallon of milk. He didn’t notice I was photographing him until the last shot, when he caught me out of the corner of his eye. Natural light imparts a certain undefinable quality to pictures thats almost impossible to duplicate. These were in color, but I desaturated them since I liked the black and white effect much better with the milk theme.


Got Milk?
Got Milk?
Got Milk?

Photographed with an OM 2n and Panagor 90mm f/2.8 1/250 sec at f/5.6 on Fuji Superia 200 film


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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