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Monthly Archives: September, 2012

Shooting Nature with the Yashica Mat 124G

Getting Started Without Spending Big Bucks

If you are reading this, you already know photography is an expensive hobby. We spend thousands of dollars on the equipment we need for capturing the light at that decisive moment. But you can get started at this nature photography habit without selling your car. Most people start with a simple 35mm rig, then build a few lenses and accessories around whichever system they have chosen. See“What Camera Should I Buy?” on this forum for more information.

So how do you get started on the cheap? Check out the photo.net classifieds or other web sites. One good source of information, which I discovered through photo.net, is the Medium Format Digest.Reading the postings of people who used Yashica Mat 124G cameras prompted me to add this to my short list of necessary equipment.

I wanted a larger original than my Canon EOS system gave me, but could not afford to lay out several thousand dollars for a Bronica, Hassleblad, Pentax or Rollei. When I found an excellent Yashica Mat at Adolph Gasser’s in San Francisco a few months ago I decided to take the plunge. One roll of Ektachrome 100SW later I was hooked. But this was just a test roll shot in a local park, to make sure the shutter speeds and apertures were working. The true test would come two weeks later on a trip to the Sierra Nevada Mountains.

In the Field

Still being uncomfortable spending the money for slide film for such an old camera, I brought the EOS along to shoot Ektachrome and loaded the Yashica Mat with Kodak Ektar 25. My son and I spent a long weekend near Kennedy Meadow, taking scenic photos along Highway 108, where it parallels Deadman Creek, and up to Sonora Pass. Looking down at the ground glass, and interpreting a reversed image, helped me concentrate more on composition than I did when peering through the tiny viewfinder of my Elan II. The Yashica Mat does not have a bright viewfinder image, especially when compared with a Rollei TLR, but I found that by flipping up the magnifier I could easily compose and focus even in low light.

I shot one entire roll using some rocks in the foreground to test the corner sharpness, with water rushing over rocks in the middle and upper portions of the image for visual impact. When I went to the lab a few days later I was pleased to see the rocks in the lower corners were indeed sharp. And the complete lack of grain and added tonal scale made 35mm enlargements look, well, grainy and dull.

The next test came on a trip to the Bristlecone Pine National Forest, just north of Death Valley in California’s White Mountains, and Great Basin National Park in eastern Nevada. I carried both systems again, but this time brought slide film for the Yashica Mat and Kodak Royal Gold 25 for the Canon. The slides were a mixture of Fujichrome Velvia, and Agfachrome RSX 50, 100 and 200. A friend who shoots fashion photography sent me six rolls of the Agfachrome to test. You gotta love being someone else’s guinea pig.

I followed my usual procedure on this trip, dragging my son around all afternoon, searching for interesting scenes and checking my compass to make sure the morning light would shine on the particular tree I spied. When my alarm went off at 4 a.m., I crawled out of my sleeping into the cold morning, left my son sleeping in his tent and drove back to the target tree to wait for sunrise. Because I hadn’t bought a light meter, I used to Elan II to meter the light, mounted the Yashica Mat on my tripod and shot a few frames at first light, then mounted the Elan II and shot a few more frames, just in case. I waited a bit for stronger light, but another tree started casting a shadow on my tree of choice, so I moved in closer and took some close-up shots on the twisted tree trunk. These came out especially well.

By the way, the Yashica Mat 124G does have a light meter. However, I have found the meter in the Canon EOS Elan II is extremely accurate, and the meter in my Yashica Mat reads two stops slower than the Elan II meter. Using the Elan II as a light meter is tedious unless I have both cameras loaded with the same speed film, but it does work very well when I keep my mind on what I’m doing. That is not always easy with an 11-year-old along asking me to check the framing in his Konica point and shoot all the time.

It Ain’t the Toys, It’s How You Play with Them

After a few days in the Bristlecone Pine Forest, we headed east across Nevada to Great Basin National Park. (Tip: get there in the fall after the aspens have changed color. I plan to go back.) Four days in Great Basin yielded excellent shots with both systems, but a few with the Yashica turned out just as I had envisioned.

My son decided to accompany me on one early morning shoot the second day in Great Basin. We hiked up to Teresa Lake before sunrise, and waited. Snow-covered Wheeler Peak reflected in the almost calm water, ruffled only by a slight breeze. I shot a few 28mm frames with the Canon so I could get the reflection and the peak on the negative, then switched to the Yashica Mat. The 80mm lens couldn’t get the whole scene in the viewfinder, so I moved a little closer, focused on rocks under the water and stopped down to f/32 to get the reflection sharp. These are some of the best shots of the trip. Sometimes having limited equipment forces you to look for different perspectives. Limitation or advantage? Depends on your attitude.

Upon returning to California Monday afternoon, weather prevented us from our planned backpacking excursion into the Ansel Adams Wilderness south of Yosemite National Park. (We were not prepared for snow in July.), so we headed back to the Bristlecone Pine National Forest. The snow in the Sierras turned to rain 30 miles across the Owens Valley in the White Mountains. We grabbed what little sun there was to try and capture the wet bristlecone pines, but there wasn’t enough light to get many images. On Thursday the clouds broke, and we got some excellent shots with beautiful, fluffy clouds in the sky. Again, I shot both systems on almost every scene.

Because Bay 1 filters are hard to find these days, I held a circular polarizer over the Yashica Mat’s taking lens, making sure to orient it the same way as the polarizer over the Canon lens, so my light reading would be similar. How did this work? Quite well. The only difficulty came from trying to remember to calculate the differences between the film speeds in the Canon and the Yashica Mat, and the three frames I blew when I metered with the polarizer on the Canon and forgot to put the polarizer over the Yashica Mat. That’s why I have a used light meter on the way. Oh well, at least it wasn’t 4×5 film.

Comparisons and Conclusions

How do the images compare? The Yashica Mat seems to be as sharp and contrasty as the Canon 50/1.8 prime lens, and noticeably sharper than the Tamron 28-200 zoom my wife insisted I buy. These aren’t scientific measurements (I’ll leave that to Bob, if he ever wants to do some), but impressions gained from comparing slides through an 8x loupe. The larger original image size is a decided advantage when enlarging, but the Canon is much more versatile with its excellent range of interchangeable lenses.

Looking over the images after returning home, I concluded the image quality in medium format is definitely better than 35mm. And in some instances not being able to change lenses made me think more about how to shoot a scene, and I got better photos than I would have with interchangeable lenses. In other instances, putting a wider or longer lens on the Canon allowed me to change the perspective to a more pleasing composition.

This is all part of the process of learning to shoot landscapes, and gives me more motivation to buy a medium format or large format system with interchangeable lenses, give the Canon and the Tamron to my wife and let my son have the Yashica Mat. First, though, I’m getting a good, used light meter. The Yashica Mat gave me some very good slides in both locations, including some beautiful evening images of Wheeler Peak above Stella Lake in Great Basin. Close ups of the bristlecone pines show much more detail in the larger format. But the best image of the trip came out of the Canon, using that cheap zoom at its 28mm setting. It’s one I shot the first day, of a lone bristlecone pine against some red clouds at first light, with the snow-covered Sierra Nevadas in the background.

The Yashica Mat hasn’t been perfect. I started having problems with it during the trip.About every other roll the camera would not advance past the first frame until I double exposed that frame, the it would behave. Gasser’s has the camera in their shop as I write this, repairing it under their 90-day used equipment warranty. I’ll update this article after they return the camera.

Overall, though, this is a good entry-level medium format setup. With a little research and patience, you can find an excellent Yashica Mat 124G for $150 to $300, a light meter for $50 or so (unless you want to go ahead a get a new one), and a used tripod for $50. Total investment, for me, is about $400 including the camera, light meter and tripod. This will get me by until I can start building a better system. It’s cheap, the image quality is very good, and the weight is low.

Yashica Mat 124G Basic Specs

  • Twin-Lens Reflex camera
  • 6×6 cm square format
  • 80mm f/3.5 taking lens
  • Flash synch at all speeds
  • Film Advance via Winding Crank
  • Uses Bay 1 filters
  • Accepts 120 or 220 film

Source: http://photo.net/learn/nature/mat124

 

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Essential Photography Tools

Timing & Location

Depth of Field & Resolution

Subject Size & Speed

Macro & Close-Up

Photo Stitching & Panoramas


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UNDERSTANDING CAMERA LENSES

Understanding camera lenses can help add more creative control to digital photography. Choosing the right lens for the task can become a complex trade-off between cost, size, weight, lens speed and image quality. This tutorial aims to improve understanding by providing an introductory overview of concepts relating to image quality, focal length, perspective, prime vs. zoom lenses and aperture or f-number.

LENS ELEMENTS & IMAGE QUALITY

All but the simplest cameras contain lenses which are actually comprised of several “lens elements.” Each of these elements directs the path of light rays to recreate the image as accurately as possible on the digital sensor. The goal is to minimize aberrations, while still utilizing the fewest and least expensive elements.

lens elements diagram

Optical aberrations occur when points in the image do not translate back onto single points after passing through the lens — causing image blurring, reduced contrast or misalignment of colors (chromatic aberration). Lenses may also suffer from uneven, radially decreasing image brightness (vignetting) or distortion. Move your mouse over each of the options below to see how these can impact image quality in extreme cases:

Original Image Loss of Contrast Blurring
Chromatic Aberration Distortion
Vignetting Original

Any of the above problems is present to some degree with any lens. In the rest of this tutorial,when a lens is referred to as having lower optical quality than another lens, this is manifested as some combination of the above artifacts. Some of these lens artifacts may not be as objectionable as others, depending on the subject matter.

Note: For a more quantitative and technical discussion of the above topic, please see the
tutorial on camera lens quality: MTF, resolution & contrast.

 

INFLUENCE OF LENS FOCAL LENGTH

The focal length of a lens determines its angle of view, and thus also how much the subject will be magnified for a given photographic position. Wide angle lenses have short focal lengths, while telephoto lenses have longer corresponding focal lengths.

lens focal length diagram

Note: The location where light rays cross is not necessarily equal to the focal length,
as shown above, but is instead roughly proportional to this distance.

Required Focal Length Calculator

Subject Distance

 meters feet inches meters

Subject Size

 meters feet inches meters

Camera Type

 Digital SLR with CF of 1.6X Digital SLR with CF of 1.5X Digital SLR with CF of 1.3X Digital compact with 1/3″ sensor Digital compact with 1/2.5″ sensor Digital compact with 1/1.8″ sensor Digital compact with 1/1.7″ sensor Digital compact with 2/3″ sensor Digital SLR with 4/3″ sensor 35 mm (full frame) APS-C 6×4.5 cm 6×6 cm 6×7 cm 5×4 inch 10×8 inch Digital SLR with CF of 1.6X
Required Focal Length:

Note: Calculator assumes that camera is oriented such that the maximum
subject dimension given by “subject size” is in the camera’s longest dimension.
Calculator not intended for use in extreme macro photography.

Many will say that focal length also determines the perspective of an image, but strictly speaking, perspective only changes with one’s location relative to their subject. If one tries to fill the frame with the same subjects using both a wide angle and telephoto lens, then perspective does indeed change, because one is forced to move closer or further from their subject. For these scenarios only, the wide angle lens exaggerates or stretches perspective, whereas the telephoto lens compresses or flattens perspective.

Perspective control can be a powerful compositional tool in photography, and often determines one’s choice in focal length (when one can photograph from any position). Move your mouse over the above image to view an exaggerated perspective due to a wider angle lens. Note how the subjects within the frame remain nearly identical — therefore requiring a closer position for the wider angle lens. The relative sizes of objects change such that the distant doorway becomes smaller relative to the nearby lamps.

The following table provides an overview of what focal lengths are required to be considered a wide angle or telephoto lens, in addition to their typical uses. Please note that focal lengths listed are just rough ranges, and actual uses may vary considerably; many use telephoto lenses in distant landscapes to compress perspective, for example.

Lens Focal Length* Terminology Typical Photography
Less than 21 mm Extreme Wide Angle Architecture
21-35 mm Wide Angle Landscape
35-70 mm Normal Street & Documentary
70-135 mm Medium Telephoto Portraiture
135-300+ mm Telephoto Sports, Bird & Wildlife

*Note: Lens focal lengths are for 35 mm equivalent cameras. If you have a compact or digital SLR camera, then you likely have a different sensor size. To adjust the above numbers for your camera, please use the focal length converter in the tutorial on digital camera sensor sizes.

Other factors may also be influenced by lens focal length. Telephoto lenses are more susceptible to camera shake since small hand movements become magnified, similar to the shakiness experience while trying to look through binoculars. Wide angle lenses are generally more resistant to flare, in part because the designers assume that the sun is more likely to be within the frame. A final consideration is that medium and telephoto lenses generally yield better optical quality for similar price ranges.

 

FOCAL LENGTH & HANDHELD PHOTOS

The focal length of a lens may also have a significant impact on how easy it is to achieve a sharp handheld photograph. Longer focal lengths require shorter exposure times to minimize blurring caused by shaky hands. Think of this as if one were trying to hold a laser pointer steady; when shining this pointer at a nearby object its bright spot ordinarily jumps around less than for objects further away.

shaky hands - rotational vibrations

This is primarily because slight rotational vibrations are magnified greatly with distance, whereas if only up and down or side to side vibrations were present, the laser’s bright spot would not change with distance.

shaky hands - vertical vibrations

A common rule of thumb for estimating how fast the exposure needs to be for a given focal length is the one over focal length rule. This states that for a 35 mm camera, the exposure time needs to be at least as fast as one over the focal length in seconds. In other words, when using a 200 mm focal length on a 35 mm camera, the exposure time needs to be at least 1/200 seconds — otherwise blurring may be hard to avoid. See the tutorial on reducing camera shake with hand-held photos for more on this topic.

Keep in mind that this rule is just for rough guidance; some may be able to hand hold a shot for much longer or shorter times. For users of digital cameras with cropped sensors, one needs to convert into a 35 mm equivalent focal length.

ZOOM LENSES vs. PRIME LENSES

A zoom lens is one where the photographer can vary the focal length within a pre-defined range, whereas this cannot be changed with a “prime” or fixed focal length lens. The primary advantage of a zoom lens is that it is easier to achieve a variety of compositions or perspectives (since lens changes are not necessary). This advantage is often critical for dynamic subject matter, such as in photojournalism and children’s photography.

Keep in mind that using a zoom lens does not necessarily mean that one no longer has to change their position; zooms just increase flexibility. In the example below, the original position is shown along with two alternatives using a zoom lens. If a prime lens were used, then a change of composition would not have been possible without cropping the image (if a tighter composition were desirable). Similar to the example in the previous section, the change of perspective was achieved by zooming out and getting closer to the subject. Alternatively, to achieve the opposite perspective effect, one could have zoomed in and moved further from the subject.

Two Options Available with a Zoom Lens:
Change of Composition Change of Perspective

Why would one intentionally restrict their options by using a prime lens?Prime lenses existed long before zoom lenses were available, and still offer many advantages over their more modern counterparts. When zoom lenses first arrived on the market, one often had to be willing to sacrifice a significant amount of optical quality. However, more recent high-end zoom lenses generally do not produce noticeably lower image quality, unless scrutinized by the trained eye (or in a very large print).

The primary advantages of prime lenses are in cost, weight and speed. An inexpensive prime lens can generally provide as good (or better) image quality as a high-end zoom lens. Additionally, if only a small fraction of the focal length range is necessary for a zoom lens, then a prime lens with a similar focal length will be significantly smaller and lighter. Finally, the best prime lenses almost always offer better light-gathering ability (larger maximum aperture) than the fastest zoom lenses — often critical for low-light sports/theater photography, and when ashallow depth of field is necessary.

For compact digital cameras, lenses listed with a 3X, 4X, etc. zoom designation refer to the ratio between the longest and shortest focal lengths. Therefore, a larger zoom designation does not necessarily mean that the image can be magnified any more (since that zoom may just have a wider angle of view when fully zoomed out). Additionally, digital zoom is not the same as optical zoom, as the former only enlarges the image through interpolation. Read the fine-print to ensure you are not misled.

INFLUENCE OF LENS APERTURE OR F-NUMBER

The aperture range of a lens refers to the amount that the lens can open up or close down to let in more or less light, respectively. Apertures are listed in terms of f-numbers, which quantitatively describe relative light-gathering area (depicted below).

Note: Aperture opening (iris) is rarely a perfect circle,
due to the presence of 5-8 blade-like lens diaphragms.

Note that larger aperture openings are defined to have lower f-numbers (often very confusing). These two terms are often mistakenly interchanged; the rest of this tutorial refers to lenses in terms of their aperture size. Lenses with larger apertures are also described as being “faster,” because for a given ISO speed, the shutter speed can be made faster for the same exposure. Additionally, a smaller aperture means that objects can be in focus over a wider range of distance, a concept also termed the depth of field.

f-# Corresponding Impact on Other Properties:
Light-Gathering Area
(Aperture Size)
Required Shutter Speed Depth of Field
Higher Smaller Slower Wider
Lower Larger Faster Narrower

When one is considering purchasing a lens, specifications ordinarily list the maximum (and maybe minimum) available apertures. Lenses with a greater range of aperture settings provide greater artistic flexibility, in terms of both exposure options and depth of field. The maximum aperture is perhaps the most important lens aperture specification, which is often listed on the box along with focal length(s).

Canon camera lens boxes

An f-number of X may also be displayed as 1:X (instead of f/X), as shown below for the Canon 70-200 f/2.8 lens (whose box is also shown above and lists f/2.8).

maximum aperture in 1:X format

Portrait and indoor sports/theater photography often requires lenses with very large maximum apertures, in order to be capable of a narrower depth of field or a faster shutter speed, respectively. The narrow depth of field in a portrait helps isolate the subject from their background. For digital SLR cameras, lenses with larger maximum apertures provide significantly brighter viewfinder images — possibly critical for night and low-light photography. These also often give faster and more accurate auto-focusing in low-light.Manual focusing is also easier because the image in the viewfinder has a narrower depth of field (thus making it more visible when objects come into or out of focus).

Typical Maximum Apertures Relative Light-Gathering Ability Typical Lens Types
f/1.0 32X Fastest Available Prime Lenses
(for Consumer Use)
f/1.4 16X Fast Prime Lenses
f/2.0 8X
f/2.8 4X Fastest Zoom Lenses
(for Constant Aperture)
f/4.0 2X Light Weight Zoom Lenses or Extreme Telephoto Primes
f/5.6 1X

Minimum apertures for lenses are generally nowhere near as important as maximum apertures. This is primarily because the minimum apertures are rarely used due to photo blurring from lens diffraction, and because these may require prohibitively long exposure times. For cases where extreme depth of field is desired, then smaller minimum aperture (larger maximum f-number) lenses allow for a wider depth of field.

Finally, some zoom lenses on digital SLR and compact digital cameras often list a range of maximum aperture, because this may depend on how far one has zoomed in or out. These aperture ranges therefore refer only to the range of maximum aperture, not overall range. A range of f/2.0-3.0 would mean that the maximum available aperture gradually changes from f/2.0 (fully zoomed out) to f/3.0 (at full zoom). The primary benefit of having a zoom lens with a constant maximum aperture is that exposure settings are more predictable, regardless of focal length.

Also note that just because the maximum aperture of a lens may not be used, this does not necessarily mean that this lens is not necessary. Lenses typically have fewer aberrations when they perform the exposure stopped down one or two f-stops from their maximum aperture (such as using a setting of f/4.0 on a lens with a maximum aperture of f/2.0). This *may* therefore mean that if one wanted the best quality f/2.8 photograph, a f/2.0 or f/1.4 lens may yield higher quality than a lens with a maximum aperture of f/2.8.

Other considerations include cost, size and weight. Lenses with larger maximum apertures are typically much heavier, larger and more expensive. Size/weight may be critical for wildlife, hiking and travel photography because all of these often utilize heavier lenses, or require carrying equipment for extended periods of time.

FURTHER READING

For more on camera lenses, also visit the following tutorials:

Want to learn more? Discuss this and other articles in our digital photography forums.

 


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Source: http://www.cambridgeincolour.com/tutorials/camera-lenses.htm