Olympus Dramatic Tone Long Exposures

Looking for something new to try on a photo trip out to Swanage in Dorset, I had the diminutive EPL5 and some neutral density filters rattling around the camera bag so thought I’d try some long exposures using the ‘Dramatic Tone’ art filter.

Olympus Pen, Dramatic Tone, long exposure

Four seconds at f18 with the camera firmly braced against a sea wall produced this – not bad at all.

 

This special effects filter produces some spectacular results, pushing the contrast in the midtones and dragging detail from otherwise overcast skies. While shooting, the results look great but looking at hundreds of shots later when processing them brings home a sinking feeling – this effect should only be used sparingly as too much of it becomes tiringly repetitive!

Olympus Pen, Dramatic Tone, long exposure

Two seconds at f22 and more streaky seabirds….

 

Two stacked 58mm x3 ND filters on a hairy contraption of 37 ->49 then 49 ->58mm step up rings allowed their use on the tiny 14-42mm kit lens. When things briefly brightened up a circular polarizer was added to cut the light getting through to the sensor was added too! The resulting JPEGs were post-processed in DXO Filmpack using some of the ‘designer’ presets to give a toned result which adds an extra dimension to the monochrome images.

Olympus Pen, Dramatic Tone, long exposure

A river discharges into the sea here and there’s always a lot of seagulls milling around. The streaks in the sky are them flying past. Two seconds at f22.

 

The Oly’s IBIS (in body image stabilisation) and hand holding the camera on various posts, railings etc at exposures up to 8 seconds at f16-f22 worked reasonably well but there were around 50% failures due to camera shake (I was pushing things to extremes here!).

Olympus Pen, Dramatic Tone, long exposure

One second at f22 was all that was need here

 

There were a few dust spots on the sensor which have been cloned out – and the sensor given a quick clean. The processing required to create these if shooting in RAW+JPEG takes a few seconds at normal shutter speeds. With long exposure noise reduction processing added, it takes around five seconds to process and save each shot so don’t expect this to be a quick process.

Overall I’m reasonably pleased with this as a technique. It adds an extra twist to the well trodden ‘Dramatic Tone’ approach and might be useful for art print sales – though I can’t see it being much use for book covers. Mainly though, it’s simply good fun – give it a try if you have a chance.

Thanks for looking, hope you like them.

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Ultrawide on a 5d Mk2 – a Vivitar 17mm f3.5

This lens worked out pretty well on a Canon 60D crop frame sensor (here) and it’s also quite handy on Olympus OM series film cameras. ‘Full Frame’ digital though is a lot more demanding, especially at the far edges of the frame so how well does this vintage lens shape up on the mighty 5D Mk2? I need a wide-angle lens for this camera so it’s been dusted off for a test. All shot in RAW and converted in DXO Optics 9.

Vivitar 17mm f3.5 Canon 5d Mk2

The waterfall at Kimmeridge Bay in full flow. The flare to the bottom left is a ‘feature’ of this lens – I quite like it and here it fills a dark area of the frame.

On the bulky 5d Mk2 even this relatively heavy old MF lens feels fine. It’s lighter than a 24-105mm ‘L’ so it’s quite reasonable to carry around without becoming fatigued. The filter size is 67mm and infinity to minimum focus (25cm) takes a rack of around 180 degrees. The majority of this rack is taken getting from one metre to 25cm so you probably won’t see that bit of the scale very often.

This lens seems to cause the 5D MK2 more metering problems than any lens I’ve attached to it. Evaluative and centre weighted modes both occasionally produced wildly overexposed shots so keep an eye on the playback histogram after each shot.

Vivitar 17mm f3.5 Canon 5d Mk2

On the 5d Mk2 via an Olympus OM to Canon EF Fotodiox adaptor. Nicely balanced and a pleasure to use. Manual focus is very difficult due to the huge depth of field so the LCD of depth of field scale are preferable.

One of the traditional uses of such a wide-angle lens is for course landscapes and initial impressions are impressive at f8. The colours are natural and everything looks sharp enough – without pixel peeping.

Vivitar 17mm f3.5 Canon 5d Mk2

What it should do well – and it does. There isn’t much curvature on horizons (pincushion distortion) as long as the horizon is near the centre of the frame though it’s not that bad generally.

The other traditional use is interior shots and with an angle of view of 90 degrees it’s quite good at that too!

Vivitar 17mm f3.5 Canon 5d Mk2

Remarkably I haven’t seen any chromatic aberration which usually plagues wide-angle lenses, but there are a few odd internal reflections and flare when shooting into the sun which you can either live with and use creatively or just try to avoid by being very careful with your compositions.

Vivitar 17mm f3.5 Canon 5d Mk2

As with all wide-angle lenses converging lines look particularly dramatic – you end up looking for them everywhere. The closer you are to the subject the more dramatic the effect is.

Vivitar 17mm f3.5 Canon 5d Mk2

As there’s so much depth of field you can also use the depth of field scale to ‘shoot blind’ and just hold the camera near the ground like the following shot. After lots of experimenting it seems the depth of field scale is a bit optimistic – use the next widest aperture scale (i.e. set f16 but set a hyperfocal distance for f11). Maybe it was ‘good enough’ for film but it’s not for critically sharp results on the 5D…..

Vivitar 17mm f3.5 Canon 5d Mk2

Using such a wideangle lens for close-ups isn’t advisable due to distortion which increases the closer you get. The closest focus distance is 25cm – use it if you dare!

And another using the same technique – one of the few shots of snowdrops I’ve taken which I like – and I’ve taken loads!

Vivitar 17mm f3.5 Canon 5d Mk2

Bokeh with such a wide-angle lens only appears when the lens is closely focussed. It’s slightly fussy but not bad.

After all these promising results, time for some proper test results. This scene was chosen to be especially demanding for a wide-angle with bare branches acting to test the sharpness.

Vivitar 17mm f3.5 Canon 5d Mk2

The full test frame.

At f3.5 centre :-

Vivitar 17mm f3.5 Canon 5d Mk2

f3.5 edge :-

Vivitar 17mm f3.5 Canon 5d Mk2

Well wide open it’s not that good at all – the edge is terrible, but having read detailed test results for such lenses – even modern ones – the extreme edges of wide angles are often poor. Conclusion – avoid f3.5!

at f8 centre :- Vivitar 17mm f3.5 Canon 5d Mk2f8 edge :-

Vivitar 17mm f3.5 Canon 5d Mk2

Improved as you’d expect, though still not exactly brilliant!

at f16 centre :-

Vivitar 17mm f3.5 Canon 5d Mk2

f16 edge :-

Vivitar 17mm f3.5 Canon 5d Mk2

Much better – relatively… The extreme edges of the frame are still not great but better than I expected.

All things considered, this is remarkably good for a £100, thirty year old lens. As long as you keep it at f8 to f16 the performance isn’t too bad at all and on a par with many modern ultrawides (especially mid-priced zooms). It’s so much fun to use that I don’t really care too much about the soft edges – with such a wide angle of view they don’t seem too important. If you’re a perfectionist or pixel-peeper though this may not be good enough for you.

For someone who needs such a wide-angle lens infrequently this is good enough for me (and becoming a favourite lens). The lack of chromatic aberration is remarkable, the flare which crops up now and again is quite attractive (to me anyway) so all in all it’s getting a hearty recommendation for the price.

I’ll finish with another shot from the waterfall sequence – the slight vignette is caused by stacked ND filters, not the lens.

Vivitar 17mm f3.5 Canon 5d Mk2

Thanks for looking – hope you find this useful.

If you’re interested in using other MF lenses on your DSLR have a look at the other reviews on the film, camera and lens review index tab.

Full Frame on a Budget – A Canon 28-105 f3.5-4.5 USM on a 5D Mk2

This post is a bit of an oddity. Usually the only older lenses I play with are vintage manual focus lenses from the film era – Zuikos mostly – but this is a discontinued film era Canon EF autofocus lens from around 2000. EXIF info for once is quite welcome.

Canon 5D, 28-105 f3.5-4.5

105mm @f5.6 – a bit of a ‘grab shot’ which went well.

Why bother? Well it’s more or less the same zoom range as a 24-105L F4, it’s much cheaper (£130 second hand vs £500 second hand for the “L”)  and importantly, it’s much lighter (201g vs 670g). Filters are much cheaper at 58mm than 77 mm though it has no IS like the ‘L’. Also I’ve got on loan and I’m curious!

Canon 5D, 28-105 f3.5-4.5

On the 5D the light weight is very welcome. It almost makes the heavy 5D MK2 into an effortlessly portable camera.

 

It’s constructed with a tough plastic exterior and a two barrel zoom action, the minimum focus about 50 cm (marked as ‘macro’) and the USM focussing is smooth, quick and quiet. It feels quite tough if a bit brittle, but it is fifteen years old. This is the earlier model, an improved model (1999-2002) made some minor improvements.

Canon 5D, 28-105 f3.5-4.5

A Canon 24-105 ‘L’ and the 28-105 ‘not an ‘L’. Smaller, lighter and just about as versatile. Apologies for the distortion.

 

To be clear from the start, this isn’t the sharpest lens around so I won’t do a lengthy series of test shots. At 28mm the edges are soft wide open, things improve through the mid focal lengths then decline as 105mm is reached. However if you keep it at f56-f11 it will produce decent images at all focal lengths which are more than adequate for most purposes as the following should demonstrate.

Two huge enlargements from the first image are below – the tower and some of the gulls shot at 105mm @f5.6. DXO Optics 9 has already tried to remove CA from these images but a small amount remains, even if it is only a few pixels.

Canon 5D, 28-105 f3.5-4.5

Canon 5D, 28-105 f3.5-4.5

Colours are generally good though as with all older lenses, a quick ‘auto levels’ is always useful.

Canon 5D, 28-105 f3.5-4.5

68mm @f4.5 Nice clean colours in good light.

Flare is quite well controlled even without a lens hood. This was metered without the sun in the shot, the exposure ‘locked’ using the ‘*’ button, then recomposed.

Canon 5D, 28-105 f3.5-4.5

28mm @f8. Kimmeridge Bay at an extremely low tide – the lowest in twenty years apparently.

Macro mode is reasonable too with some slightly busy bokeh. The auto levels has produced some rather grungy colours in the lower right but other than that not too bad.

Canon 5D, 28-105 f3.5-4.5

105mm @f4.5

An extreme chromatic aberration test here looks good – though this is more down to DXO Optics than the lens itself. Turning off CA correction in DPP produced some nasty purple fringing on the sunlight reflections.

Canon 5D, 28-105 f3.5-4.5

63mm @f16

 

Canon 5D, 28-105 f3.5-4.5

28mm @f8 on an overcast day – not bad at all.

All in all quite a reasonable all-rounder for the price. It would make a good starter lens while you saved up for a better general purpose zoom and would be useful on shoots where kit might get dirty or damaged. Old zoom lenses from the film era are rarely as good as modern ones but this one is better than most.

At this point you’re probably thinking I’ll come up with some killer reasons to use this lens. There really aren’t any other than the price and weight. It’s ‘OK’ for most purposes but fifteen years have seen some serious improvements in lens technology and digital imaging is much more demanding than film. If you’re not going to print past 10×8 it’s fine – otherwise something more modern may be in order. I really like the light weight and the convenience though!

If you’re interested in using other old lenses on your DSLR have a look at the other reviews on the film, camera and lens review index tab.

Thanks for looking – hope you find this useful.

 

A Stormy Day and Some Long Exposures (and some myths debunked!)

We’re having some stormy days in Dorset lately which is a good excuse to get the tripod and neutral density filters out and do some long exposures on the coast. All shots on a Canon 60D using a Sigma 10-20mm f4-5.6 lens.

Canon 60D, Sigma 10-20mm f4-5.6

Kimmeridge Bay and Clavell’s Tower. 10mm focal length, 15 seconds at f16, heavily tweaked in DXO Filmpack using the Rollei Retro 80s film profile – then even more contrast was added! The composition was helped by the very strong wind blowing the clouds and waves straight at the camera.

There isn’t a great amount of light around, but if shutter speeds of up to thirty seconds at ISO 100 are to be used, a x8 (three stop) ND filter isn’t enough by a long way. There were all taken using a stacked pair of x8 and x64 (six stop) Hoya ND filters and even then f16, f22 and f32 were all used to get long enough shutter speeds. The first myth to be debunked here is that old rule ‘never go below f16 – resolution will suffer because of diffraction’ – here the advantage of a slow shutter speed easily outweighs any slight softness created by a small aperture so just use it anyway!

Surprisingly there was no vignetting from the stacked filters.

Canon 60D, Sigma 10-20mm f4-5.6

3.2 seconds @f25. This one at the same location was taken with a view to converting it to a ‘moonlit light’ type shot. The brightness is dropped and a blue tint added to give the illusion of a moonlit bay. I’ve just finished reading ‘Moonfleet’ so that’s probably what made the shot come to mind.

The second golden rule which didn’t seem to apply was that muck on a wide-angle lens at small apertures will spoil a shot as it will be visible. I’ve always meticulously cleaned the front filters of such lenses, but despite the front filter being caked in dried salt and sand by the end of this shoot nothing was visible on the shots – at 10mm focal length using f32 in some shots! Something else not to worry about!

Canon 60D, Sigma 10-20mm f4-5.6

A bit more abstract – f13 10 seconds. Post processing as per the first shot.

It’s best to take lots of shots at different apertures and shutter speeds as the variation between different wave timings and slow shutter effects is remarkable. I couldn’t predict how the waves were going to hit the beach so just took ten or so shots at each tripod location – even then some weren’t too good. This is pot luck in short!

A heavy tripod is recommended and even then don’t extend it but use it at it’s lowest setting with the centre column down. Strong winds were shaking the camera with the legs extended by even one section and if it blows over onto rocks in salt water it’s probably time to wave the camera and lens goodbye….

Canon 60D, Sigma 10-20mm f4-5.6

2 seconds f10 with the wind blowing from left to right. Post processing as he first shot.

I had more difficulty than ever keeping the horizons straight so several of these were straightened in pp. Composition in a gale is more difficult than it looks even using the flip out LCD and grid lines – the viewfinder is very dark due to the ND filters and close to the ground which means it isn’t very comfortable to use.

Canon 60D, Sigma 10-20mm f4-5.6

5 seconds @f5.6.

For these conditions shutter speeds of 2 seconds to 15 seconds produced the best results. At 30 seconds the sea became too ‘blurred’, below 2 seconds and not enough movement was captured.

A very different location – the sheltered marshes behind the dunes at Studland and the pool surface was just being ruffled by the wind.

Canon 60D, Sigma 10-20mm f4-5.6

5 seconds @f10. Generic Ektachrome film profile in DXO filmpack brought out the red hues which contrast with the blue sky reflection.

Next a similar shot at the same location.

Canon 60D, Sigma 10-20mm f4-5.6

5 seconds at f10 – a blue cast seemed to suit this one but it would work well in black and white.

Finally it’s worth mentioning that the most important kit when shooting stormy weather near the coast isn’t camera kit at all – good outdoor clothing is essential otherwise you’re likely to get freezing cold and wet – not good for concentrating on photography (sorry to nag).

DN0A0105

What not to do (as I did) – get caught by a large wave (it’s on it’s way out in this shot) which overtops not particularly waterproof boots, giving you freezing cold, wet feet for the rest of the day. Oh – and almost lose your camera at the same time! Thanks for the picture Jayne even if you were laughing when you took it. The first picture on this post was taken when this happened so it was worth it.

The best part of shooting in bad weather is that you feel that you’ve done something productive rather than sit around indoors and I really must do more of it. With better boots, a towel and a spare set of socks next time though.

Thanks for looking – hope you like them!

A Plastic Lensbaby Lens on a Canon 5D Mk2 using a ‘Clear’ Picture Style

The Plastic Lensbaby mounted in a Composer did well on a 60D, but as an 80mm equivalent lens it was restrictive for general purpose photography. On a ‘full frame’ 5D it should be a more useful 50mm lens (I really like 50mm lenses!) but a larger sensor should show more ‘Lensbaby softness’.

Canon 5d MK2, Lensbaby Plastic, clear picture style

‘Clear’ picture style, f5.6. There isn’t the soft misty look I’d expected which is odd, probably caused by the picture style which creates highly saturated and contrasty images.

A day’s experimentation is called for….All shot in RAW + JPG (the final picture style is ‘baked into’ the JPG but not the RAW – just in case).

If you’ve never seen or used a Lensbaby a brief explanation is called for. They’re manual focus lenses with a very basic construction, in several designs most with ‘Waterhouse’ removable aperture disks (see below). Their uncorrected optical flaws are there to be exploited and the main reason for using them. Fitting smaller apertures (they’re held in place by magnets) reduces the optical flaws, but even at f16 they’re still there!

The Plastic lens is a 50mm f2 with aperture disks running from f2.8 to f16 (you could make your own if you liked!). Note that the Sweet 35 lens has a conventional internal aperture so no need for the ‘box of apertures’.

Canon 5d MK2, Lensbaby Plastic, clear picture style

The blue ringed plastic lens (not ‘L’ series then!) with the aperture disks to the right (see f16 and f5.6?). The disk holder is on the right, the lid looks suspiciously like a 35mm canister lid, and the end of the ‘stick’ is a magnet to remove the disks from the lens. Simple but ingenious. It is a temptation just to leave one aperture disk in all day!

They’re very small and light, almost transforming the 5D into a lightweight camera (I’m used to the weight of 1 24-105mm lens). As you can see from the next shot, the lens can be pivoted around to move the central sharp part of the image around in the frame, though I must admit I hardly ever do this, preferring to keep the ‘sweet spot’ of sharpness in the middle.

Canon 5d MK2, Lensbaby Plastic, clear picture style

The ‘lens’ as seen here is really a secondary mount called a ‘Composer’ – there are several types. Different lenses (glass, plastic, pinhole etc) are then slotted into this to achieve different results.

To counter the inherent low contrast of these lenses you can either correct in post-processing, or cheat and use Canon’s ‘Clear’ picture style which pushes contrast and saturation to extremes. Installing extra colour profiles on your DSLR  is easy, some are already installed (‘Neutral’,’Standard’ etc) but there are three spare ‘slots’ for extra profiles – look here. Alternatively they can just be applied in Canon’s RAW DPP software – the result is the same but using software is a lot more fuss.

Focussing is best done on the LCD screen as these are low contrast and low sharpness lenses and the ‘Clear’ picture profile is simulated on the screen. It’s quite easy if you’re used to using MF lenses.

Canon 5d MK2, Lensbaby Plastic, clear picture style

The first image with no ‘Clear’ style applied, just an ‘auto levels’ – not quite so dramatic. Still no soft mistiness which was so prominent on the 60D – interesting!

Enough about what it is – how well does it do?

Canon 5d MK2, Lensbaby Plastic, clear picture style

Keep it simple and abstract!

Firstly, the softness at the edge of the frame is stronger on full frame than APS-C – as expected (I didn’t expect quite this much though) so smaller apertures will be required unless you really want to go wild. As on the 60D, simple, bold compositions work best allowing the blur at the edge of the frame to emphasise the main subject.

Canon 5d MK2, Lensbaby Plastic, clear picture style

At f8 – the centre is surprisingly sharp, the edges smearing into some nice blur.

To add to your creative ‘arsenal’ the lens will flare like crazy if sunlight shines over the front element :-

Canon 5d MK2, Lensbaby Plastic, clear picture style

Sun out of frame to the upper left.

This shot was taken moving the camera very slightly to the right. Note that spectacular chromatic aberration on the roof!

Canon 5d MK2, Lensbaby Plastic, clear picture style

Better!

Though oddly it’s not bad if you shoot straight into the sun!

Canon 5d MK2, Lensbaby Plastic, clear picture style

The proper 50mm focal length is much more useful for landscapes, though again, smaller apertures work best.

Canon 5d MK2, Lensbaby Plastic, clear picture style

f5.6 disk – a bit too much blur maybe.

The ‘Clear’picture style really drags some good colour out of a scene on a cold winter’s day – a bit of de-saturation in Photoshop would tone it down nicely though if that’s more your taste.

Canon 5d MK2, Lensbaby Plastic, clear picture style

At closer distances the blur looks more like that of a really fast lens – well, almost but not quite! The soft pastel colours in the stone and leaves look good here I think.

Canon 5d MK2, Lensbaby Plastic, clear picture style

What to make of all this?

On a full frame camera you’ll need to use smaller apertures than on a 60D to tame the Plastic Lensbaby’s extreme edges (assuming you want to of course). Smaller apertures unfortunately seem to remove the soft, dreamy look that the lens produces on APS-C – these look more like the results from the glass lenses. On the other hand a 50mm field of view is more useful for general photography. I’ll test the glass lenses next, but so far I’d say it’s better on a 60D.

Using the ‘Clear’ picture style certainly adds a bit of zip to these low contrast images – it’s invaluable to help focussing and visualising the image before it’s taken, and can be changed in DPP if you prefer a more subtle result.

Lensbabys are a bit pricey new, but have been around long enough to buy cheaply second-hand. Unless it’s been run over by a truck there’s virtually nothing that can go wrong with this kit (no IS, no AF and not very sharp to begin with!) so it’s a pretty safe thing to do.

Hope you find this useful – it quite surprised me – thanks for looking!

A Few More from the 5DMK2 and a Lensbaby Sweet 35

This is turning out to be a really good combo! The increased ‘lensbabyness’ of the image and the wider angle of view are proving useful!

All these were taken on a pretty uninspiring day in Jersey at Saie Harbour, a mixture of rocky outcrops and sand.

This first one has had a touch of the ‘cross processed film’ filter added to tune the colours a little. There may be a layer added too!

5d Mk2 lensbaby sweet 35

Just a layer for the next one – that tide was coming in very fast, a slow walking pace. For some reason the horizon never looks straight in this no matter how often it’s corrected…..

5d Mk2 lensbaby sweet 35

Finally a last variation on the same theme.The lovely ethereal rendering this lens gives is, to my at least, superb.

5d Mk2 lensbaby sweet 35

Thanks for looking – hope you like them!

A Canon 5d Mk2 and a Zuiko 85mm f2

This is the second of a series of tests using my old Olympus OM fit manual focus lenses on a full frame Canon 5d Mk 2. This time it’s the rather nice Zuiko 85mm f2, which was quite good on an APS-C sensor 60D, albeit with a 135mm equivalent focal length and a cold colour cast.

Canon 5d Mk 2 Zuiko 85mm f2

Narrow depth of field, smooth gradation of tones and easy to focus – an excellent initial impression!

All shots taken with a ‘Neutral’ colour profile and post processed in DXO Optics Pro 9 (which has absolutely no idea what lens is attached via the simple OM to EF adaptor, so can’t do it’s usual sharpness, distortion and vignetting corrections).

Canon 5d Mk 2 Zuiko 85mm f2

The slight telephoto compression and subtle vignetting impart a real ‘atmosphere’ to some shots.

The lens is described in the 60D test  here so I won’t repeat myself. Suffice to say it’s a beautiful ‘old school’ all metal built lens, and very easy to focus at f2, the focus ring being fluid and responsive. It’s quite well-balanced on the 5d but seems rather small by comparison with the great lump of the body – especially when compared to a large AF zoom lens – not necessarily a bad thing.

Canon 5d Mk 2 Zuiko 85mm f2

Changing aperture and focussing are of course both manual – not really a problem when you get used to it. As always, shoot in RAW to correct any exposure problems. Oddly, on 5D the ‘evaluative metering’ mode works best, on the 60D ‘centre weighted’ metering was needed.

Canon 5d Mk 2 Zuiko 85mm f2

Colours are bright and the contrast is pretty good too – no need for auto levels as was the case with the low contrast Helios 85m lens tested earlier. The red of the poppy looks natural, even with Canon’s tendency to over saturate reds.

Canon 5d Mk 2 Zuiko 85mm f2

Canon 5d Mk 2 Zuiko 85mm f2

The bokeh is still a little busy at medium distances – as it was on the 60D so no surprises here.

Canon 5d Mk 2 Zuiko 85mm f2

At closer distances though – it’s superb!

On the 60D I much preferred the soft, swirling bokeh of the Helios 85mm f2, even though it was much harder to focus, especially in cold weather. On full frame however, the Zuiko is a clear winner. It’s easier to focus, produces much less clinical colours than it’s results on the 60D and produces images with real impact. At around £100 it’s cheaper than the Canon AF equivalent, and is so easy to focus AF seems irrelevant. If you can find one – snap it up!

If you’re interested in using other MF lenses on your DSLR have a look at the other reviews on the film, camera and lens review index tab.

Hope you find this useful, thanks for looking!