1950 – This Glass World

It was a sunny day and my Olympus 40-150’s first day out 🙂

This is a slow lens. Winter mornings and evenings in Vienna are not her style. She craves bright light and that’s what she got today.

This lens is cheap and I bought it cheaper. I’ve already mentioned it, it has a plastic mount, a first among my lenses, but optically it’s top notch. In the morning I’ve made some mountain test shots from the terrace, at f9, and they are critically sharp even in the corners. Wide open it is sufficiently sharp as well. If you remember the cupola in “1946 – It’s Been So Long“, that image has been taken at f5.6 and it sharpened up nicely across the frame. I have certainly no complaints.

Today’s images are of a more abstract nature. Often that is what long lenses do to me.

The Image of the Day has been taken through a very dirty window of a car, at 150 mm (an equivalent of 300 mm on the PEN), at f6.3, at almost the minimum focusing distance, with the “circle” being the a reflection on another car.

I’ve pushed contrast, and as it is, the image looks more like a weird kind of moon than anything else.

I like abstract details like this, because they allow me to push the image wherever I want it. The subject is not recognizable anyway, thus all my inhibitions fall 😀

The Song of the Day is “This Glass World” from Yusuf Islam aka Cat Stevens’ 2009 album “Roadsinger”. Hear it on YouTube.

6 thoughts on “1950 – This Glass World”

  1. I’m a great friend of abstract photography (just published my new ebook on that topic) and being an Olympus photographer too I am able to confirm that the Olympus (Zuiko) lenses are first class indeed. If you like the 40-150’s you would be fond of the 50-200’s tele lens or in the wide angle sector the 7-14’s. That is a very astonishing lens with an angle like 14-28 mm on a so called “full frame” camera. It is equal of angle and a very fine lens for architectural and landscape photography.

    1. Well, in ultra-wide land I really, really crave for the Panasonic 7-14. All pictures I’ve seen are nothing but excellent. It’s just damn expensive and I guess for this year the Nikon D300 with my Sigma 8-16 will do.

      And there’s more advantage at the moment. The E-P2 can’t do any useful bracketing. Three frames at 1EV are simply not enough for HDR. The OM-D on the other hand will have 7 frames at 1 EV. On the D300 I could go up as high as 9 frames but from experience 7 are enough. I frequently find myself using HDR along with ultra-wide in outdoor scenarios, especially in winter. See for instance the series beginning with “1595 – Frozen” through to “1600 – Frozen VI“. Sure, they are artificial, they are obviously HDR, but I think they are not overdone. Impossible to do without proper bracketing.

      We’ll see. I may deliberately keep ultra-wide for the D300. For this year my budget is used up, and what I do next year, the Panasonic 7-14 or the Voigtlaender 25/0.95, I really don’t know 🙂

      1. I didn’t realize that you own already a ultra-wide lens. This series of “Frozen HDRs” is really awesome. I like the color and the composition too.

        Yes exposure bracketing is limited with Olympus until now. My E-3 allows only 5 frames at 1 EV. Most of the times this is enough for me but some times 7 frames would be nice. The E-5 has 7 frames but I don’t possess one.

    1. Flo, the Zuiko OM lenses are the old ones for the analog Olympus SLRs. The lenses of the Four Thirds system are made for the special FT sensor and do not fit for bigger ones. The small FT sensor has some disadvantage but it makes these very good lenses possible which are also not that big and therefore also not that expensive.

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