Tag: 16mm

  • 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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    – 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. (more…)