Hood-cap for NEX with 16mm

At photokina 2012, the Taiwanese company Hoocap (www.hoocap.com) showed a neat device for many different lenses and cameras, still in development for a wider range. It’s a combined lens-hood and lens-cap, which can be pushed or pulled to seal off or use your lens. They have models for lenses such as the Nikon 24-70mm f/2.8 – but their neatest model is dedicated to the NEX 16mm f/2.8.

One of the best and most original lens designs ever made, reducing the number of elements to fewer than EVER used before for an 83° angle of view, while maintaining an exceptional standard of resolution and geometric projection – and anyone who claims otherwise either just doesn’t understand what makes a 24mm equivalent lens, has a bad example*, or doesn’t realise just how BAD a typical 24mm Nikkor, Rokkor or Canon is in comparison.

Rant over! *Sony’s QC has been less than flattering to the skills of their optical design team.

Now this is an efficient lens shade for video, and not all that bad for the majority of still images taken in horizontal, landscape composition mode. You can, of course, fit the 18-55mm lens hood to the 16mm lens and it does help prevent the very rare instance of lens flare from a design which is highly resistent to flare.

Unboxing, only they didn’t have a box, just a prototype plastic pack. It was disappointing how few firms at photokina were willing to give us samples of relatively small items. We did not have time to spare, just a day. Hoocap immediately understood what we were doing and offered a sample. They were the ONLY company to do so. In past years, we’ve come back with loads of small accessories and items to write about, but this 2012 photokina has been an impoverished one in more ways than just the lack of square metres of stands.

This is how the Hoocap closes. It does add some bulk to an otherwise tiny camera and lens. You pull the unit from the rear to open the hood. It tends to need two actions unless you are lucky enough to get the pulling action exactly at 90°. It does not risk accidental opening, or closing. The action is firm and positive and exerts no strain on the lens or camera.

In case you think we do not question product design, here’s fault no 1 – if you have the small flash fitted to a 3/5 series camera, it won’t stow down fully. But it does turn off. It simply impedes the closing action of the Hoocap. By the way – we tested the cap with a 49mm UV filter fitted to the camera. It allows space for this.

The second flaw connected with flash is this. Look at the geometry – without the Sony flash extender.

It’s not awful, but this f/16 test shows exactly the area of shadow the hood will cast for a typical party or group shot at home. You really need to remove the hood for flash shooting.

Much will depend on the price, but we like this product. It closes the camera off in a very fast action – clunk! – and opens it almost as quickly. It can also be used on the 18-55mm lens but it’s super-neat on the 16mm.

Don’t forget we have a new photo quarterly magazine – Cameracraft. Please support us by subscribing, Cameracraft directly finances the Photoclubalpha website.

– DK

 

 

Go wider than wide with Photomerge

In the latest incarnation of Photoshop, CS6, the Photomerge function is faster than ever before and leverages all the context-aware, pixel matching math of the previous versions enhanced to a degree you’ll find hard to believe.

Sony NEX and Alpha cameras have the same technology built-in for their sweep panorama mode, but anyone who’s used this frequently will know that failures happen, like stepped sea horizons and double imaged or squished-flat people.

Photoshop has the menu item Photomerge under ‘Automate’ in the File Menu. It is a panoramic stitching function, but it does not need you to shoot with a tripod or even shoot with care. You can stick a wide angle lens on your camera, take two pictures with radically different vanishing points, and still end up with a neatly stitched perspective.

What you need to know is how to NAME your images or what order to shoot them in. Contrary to what you might expect, Photomerge inherits its geometry from the LAST image in your sequence. So, if you have these three images:

This is the order you need to name them. I shot these with the bottom one first, of course – my level horizon straight-on shot. Then I aimed up, and then up again, overlapping three shots. If I then select these for Photomerge, Photoshop will correctly realise I want a vertical panorama stitch but it will not use the straight-on shot to set the image angle and geometry. It always picks the LAST shot, so I must rename my JPEG conversions 1, 2 and 3 as they appear above.

If your open tabs, or the stacked order of open windows, does not place the target perspective LAST you’ll get the wrong result. Here is what happens if the first shot (the bottom one above) is placed as the first tab in a multi-tab PS window, or the top window in a stack of separate windows, before adding OPEN FILES to the Photomerge window:

I used the NEX-7 with the 16mm f/2.8 SEL wide angle for these three shots. The composite, before cropping, measures a substantial 130MB. This technique enables you to use almost any wide-angle lens to create impossible wide views.

Here is the result when you stack the shots in the right order, so the program takes its perspective cues from the vertically-correct frame (the last one shown at the top):

You have no manual control over the perspective rendering. It’s all down to feeding Photomerge the right images, in the right order. Here is the fine tuned and cropped result:

This is an unretouched merge of the three frames. I’ve been trying this on various subjects, some rather silly, and Photoshop CS6 simply nails the merging even with focus, exposure or tilted camera errors. There are much lower cost programs which stitch images and do it well, but this takes a matter of a few seconds to create a final image equal to 40 or more megapixels. Not bad for a tiny 16mm lens!

Tip: instead of adding Open Images, browse and add one at a time, making sure the perspective-key shot is the last one added.

If you shoot architectural or landscape images, this function’s enhanced performance allows you to leave behind your 8mm. Except, of course, you don’t have one. If you do have an 8mm, welcome to the world of 5mm…

Added example – the next day…

I returned to the building (the other end of it) the day after posting this article because I wanted to add something far more complex, still shot by hand, using the NEX-7 and 16mm, showing just how amazing Photomerge has become. I wanted foreground and background elements, complex geometry and a matrix of shots not just a row of them.

Here is my matrix of shots – every one of these is an 85° diagonal view, 16mm on APS-C:

Here is the result of the Photomerge window before final adjustment and cropping:

This is a 400MB+ Photoshop document and over 200MB in flattened data size. Below is the final crop, with a small rotation and correction of vertical perspective:

This is a 119MB JPEG 6919 x 6013 pixels in size, no retouching has been used and the raw conversions are default with the 16mm E lens profile. Some fringes remain visible, the image could be downsized and corrected further. Remember.. this is the often-criticised 16mm which I find to be an excellent little lens. You can download the full size sRGB JPEG saved to Level 10 quality (14MB file) from the link below if you are Photoclubalpha subscriber. It will not appear if you are not a subscriber.

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Subscriber Link

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– David Kilpatrick

NEX, A33, A55 support – new ACR 6.2/LR3.2 final

The final release of Adobe Camera Raw 6.2, DNG Converter 6.2 and Lightroom 3.2 includes raw conversion support for the Alpha 33 and 55 models as well as the NEX-5 and NEX-3, Alpha 290 and 390 which were included in the Release Candidate versions. These August 30th releases are final version, RC versions are a form of beta test.
The bad news is that anyone using the LR3.2 RC as a temporary free solution for getting full profile correction without investing in Photoshop CS5 will lose their freebie. But Lightroom is eminently affordable, and it can function as a raw conversion front-end for any earlier Photoshop or Elements version. On its own, it is a mere 10MB of program data fatter than Adobe Camera Raw as a plug-in and runs with great efficiency on modestly specified laptops (etc). It’s a lean, keenly priced solution which offers many further benefits as a DAM (Digital Asset Management) library such as keywording, copyright control, metadata editing, version stacking and multiple catalogues.
http://www.adobe.com/support/downloads/new.jsp
I am informed that support is included for the 16mm lens on NEX (profile) but I can’t tell whether it is the profile I supplied to Adobe Labs, or a new one, because my profile has remained unchanged on my system – same names, same modification date. And there’s no NEX-3 version which might be expected if they had created new profiles. So it looks as if it could be worth sending profiles into Adobe after creating them.
It’s fantastic news that Adobe has released ACR for the new Alpha 55 16 megapixel sensor before the cameras even hits the street – mine is on order, waiting! Not so great for Nikon users; no D3100 raw conversion in this release. But Canon users get the 60D (despite Adobe missing it out from their front page list). Adobe did this Sony friendly pre-release once before, for the Alpha 100, getting the conversion into place before the camera went on sale.
The bad news is that the Alpha 580 and 560 models are not in the list alongside the fixed mirror pellucid, transflective (anything but Translucent, please…) cameras.
The instruction manual for the Alpha 33 and 55:
http://esupport.sony.com/US/perl/model-documents.pl?mdl=SLT-A33&region_id=1
is already on-line and shows a March 2010 publication date, which means that Sony has had these new cameras in existence since the beginning of the year, certainly well before PMA when mockups were shown. It’s likely that Adobe’s Thomas Knoll has been using one from the first bug-free pre-production model onwards!
Now all we need is the revised lens series with SAM or SSM motors fitted into the 16-80mm CZ, 16-105mm Sony, 18-200mm and 18-250mm Sony; the 11-18mm wideangle replacement, the 75-300mm SAL replacement, and a few other goodies. Hopefully all Zeiss glass gets SSM where possible. That 16-80mm CZ is four years old now as a design. A tweak to the maximum aperture, or the zoom range, would revive interest.
– David Kilpatrick

Adobe Lens Profile for 16mm f/2.8 NEX

I have made a simple (f/2.8 and f/8 chart set) Adobe Lens Profile for the 16mm f/2.8 NEX E-series pancake lens. It seems to work well for closer distances, because that’s how it had to be made; CA is reasonably well corrected, vignetting is eliminated, and distortion of closer lines – maybe if you are looking through a door frame, etc – is very accurate. The profile was created using NEX-5 and 16mm.
You can get this profile here:
http://www.photoclubalpha.com/Sony NEX-5 (Sony E 16mm F2.8) – RAW.lcp
Right click to download/save the target file, and install this in:
Library>Application Support>Adobe>Camera Raw>Lens Profiles>Sony

Uncorrected 16mm shot

Using Adobe Camera Raw 6.2 RC with the profile active at default settings
JPEG profile added (17/08/10)
I have now added a JPEG profile from the same set of images as the raw – this is lucky, I didn’t think people would need a JPEG profile but happened to have the camera set to RAW+JPEG when the test shots were made, and this has been requested for those using HDR or other JPEG-only modes.
http://www.photoclubalpha.com/NEX-5 16mm JPEG.lcp

Above: HDR three-shot with 16mm, straight JPEG

HDR shot opened in Camera Raw without adjustments, but with the Profile enabled
Using the profiles
A full Adobe Profile is undertaken at several focus distances, apertures and zoom settings (or for prime lenses, just at a range of distances and apertures). The largest chart I can print is A2+ using the Epson 3800, and with a 24mm equivalent lens, this means having the camera surprisingly close to the target. The profile is therefore only 100% correct for subjects at 115cm from the camera, which corresponds to the 4X minimum focus distance suggested by Adobe.
I have found from using the 16mm that its optimum aperture for central sharpness is probably f/5.6, and that chromatic aberration and vignetting do not improve at stops smaller than f/8. There is a slight improvement in detail sharpness in the extreme corners at f/11 and f/16, but this is due to extra depth of field helping to cover a curved focus field. I therefore made test sets at f/2.8 and f/8 for this profile.
The geometric distortion is most visible with closer subjects such as the subject above (The Slave Girl, a bronze c. 1870 by John Bell, at Cragside House in Northumberland). This is a hand-held exposure of 1/4 at f/8, and is perfectly sharp despite the lack of stabilisation; every word of the interpretation can be read at 100%. I have found most shots are perfectly sharp with the 16mm given reasonable care, as you would take with a Leica, to breathe correctly and make a shake-free exposure. This is not the case with SLRs where the mirror action nearly always causes shake.
For more distant subjects, the 100% default setting of the ACR/LR Lens Correction panel can be reduced and where there are few straight lens removed entirely to secure the maximum field of view. Similarly, the vignetting correction can be reduced or removed entirely as the natural darkening towards the corners with this lens is attractive.
Although this profile is named to match perfectly the naming convention used by Adobe for the 18-55mm, I find that ACR 6.2 can not be relied on to use it for Auto as a default (if you work with more than one lens, Adobe Lens Correction soon proves unpredictable in this anyway). If you select Auto, then select Sony, the lens profile will be selected but the Auto button changes to Custom. If you then save new Lens Correction Defaults, or Camera Raw Defaults, ACR will attempt to force this profile on the 18-55mm and the reverse will also happen. So it’s necessary to check which profile is selected. Using ‘Previous Conversion’ for shots taken on the same lens is a quick way to get there.
The additional Manual Controls can be used on top of the profile (the second tab of the interface). The most useful are the geometric distortion (camera angle) corrections. The Chromatic Aberration/Colour Fringe controls can be fine tuned as the correction for CA while very effective relates only to the tested focus distance. CA may change with focus but my particular lens doesn’t seem to suffer from this. All that is necessary is to enable Defringe All edges as a default, and this will remove any hint of colour remaining. As a tip, setting Colour Noise Reduction to a high value can help remove CA and purple fringes in many shots processed through ACR/LR. The colour NR detects 1-2 pixel fringes just the same way it detects individual pixels, and neutralises much as it does noise.
– David Kilpatrick


A vintage Minolta 16mm kit

A mention of 16mm Minoltas reminded me that a few years ago I found a perfect kit – without outer box or instructions, sadly – at an antique fair. A daylight developing tank for the film turned up in the closing-down stock from Konica Minolta’s warehouse. I decided they should really find a new home together via the normal eBay route, but before they went, a studio shoot was needed to record them for our virtual museum. Continue reading »