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  2. The formula behind the numbers in the table isn't exactly rocket science: (diagonal) Angle of view = 2 * arctan((half of diagonal) / (distance between sensor and lens)) diagonal = sqrt((sensor width)^2 + (sensor height)^2) For the numbers in the table the focal length is used for the distance between sensor and lens, in other words the numbers in the table are only accurate for the lens focussed at infinity. If one understands the model there is no need to remember any figures, because one can always easily reproduce them (if needed at all). It should be noted that camera manufacturers do not always specifiy numbers precisely. For example, my Fuji 23mm F/2 lens clearly gives a wider view than my Fuji 23mm F/1.4 lens. This leads to the question: how to determine accurately the focal length of a lens, without a dedicated optical bench in a lab
  3. Today
  4. I am doing a quick inventory. Some time ago, I purchased all sorts of lenses I did not need, but were on sale over a period of a year or so. I think the rationale was something about how I saved all sorts of money by purchasing them on sale. But no leicas. I presently have: Lumix 25mm f1.7, 100-300 f4-5.6, 45-175 f4-5.6, 14-42 f3.5-5.6, 12-32 f3.5-5.6; Olympus 40-150 F4-5.6; and, Tokina 300mm mirror lens (I know the problems, but I could not resist at the price it sold for.) After my inventory, I was almost too embarrassed to write all of these down. None are exactly the best available. Frankly, one of the best deals was the Olympus 40-150. It was cheaper than the Lumix 45-175, and I think it is quite a bit sharper. (I think it was only $99 on sale!) I am assuming the Lumix autofocus will function just fine on the Olympus. I am not sure about the IS, but since it is in the body, not the lenses, it works?? Perhaps you can tell me. I did purchase an aftermarket grip, more of a "C" than an "L." I also took a several hour break during the writing of this message. I took a few Jpegs with my Lumix. Again, the menus are awful, but I think the images are quite good. I really like the quality, but could not stand the camera. I am looking forward to getting the Olympus. It should be less noisy than my older generation Lumix, an hopefully I will be able to conquer the menus.
  5. Lucky You!
  6. It's the way we were taught at RMIT Uni, Hugh - and it was exactly the way my boss expected me to identify the lens to pass him no matter what camera he was using. Sure, it took maybe once and a half hour or so to commit what was what to memory, but once learned a "wide" angle for the Hasselblad saw me hand over a 50mm, for the 5x4 he got a 90mm, and for 35mm the 28mm was the lens in the kit that fitted the description. You didn't have time to fart about figuring what something was in an "equivalent" format, and to be honest this never became a problem until whoever the culprit blogger was who started the whole equivalent nonsense off in the first place. I never once had a problem in the decades I worked in the profession in film days wondering what a lens was given the simple description of "Ultrawide", "Wide", "Normal", "Long", "Tele" or "Super-Tele". You simply looked in the bag and picked the lens that best fit the description, no matter what the format or camera system was. I bet everyone reading this also knows just by reading those words what lenses in their system/s they refer to. If someone asked me what the lens I was using was, I never had to recite the focal length and its equivalent in 135 format, just a simple "wide" or "tele" as the case happened to be sufficed. People just knew what that meant - even lay-people seemed to know what a "tele" did, and what a "wide" did. Now they probably wouldn't have a clue because they've probably never used a 135 format lens in their life, but nod knowingly to appear as smart as the blogger who sent them up this garden path in the first place. I think possible the problem with this as far as some bloggers are concerned is that it is too simple and makes sense, which means they can't sound like genius know-it-alls by explaining an alternative system that is neither simple, nor makes any real sense. FOV was, and still is, the accurate and correct way of fine-tuning the explanation of a lens on a format in question, although that is really only relevant for people who want a precise answer. 99% of the time it's unnecessary. Some manufacturers used to think that FOV detail was relevant, and stamped it on the lens ring (this was used in earlier lenses a lot, where focal length sometimes wasn't even mentioned) - note they did this and not "Equiv to *** mm lens on 35mm format", which we're being told is apparently the correct way these days. Still earlier was the practice of others simply numbering the lenses 1, 2, 3 etc and inscribing the format, so you were told in the literature that #1 was wide, #2 was normal, #3 was long (or whatever numbers they used), and that was all you needed to know. 6½x8½" format #2 would likely be an 8" (200mm) or 10" (250mm) FL lens.
  7. Good photos, Rags. I enjoy some of Pink Floyd's music, but I don't enjoy Roger Waters as a public person. From what I understand of him his underlying personality disorders are the true cause of the reason why there was a "divorce" in the band in the first place.
  8. Thanks very much, Hugh. I feel called to document these amazing places before they fall victim to greed and other idiocy. And it is very sad that this is not the only country privy to rape and pillage of the land.
  9. Merlin, great images, as indeed were those in your recent earlier thread from this area. As someone said, these are made for B&W and again you have not disappointed. Many thanks for showing us these ones. Off Topic: We also have plenty Dickheads over here in OZ that do similar such crazy things as mine and desecrate the wilderness. Any royalties to the Australian people are couched in agreements where the Australian Government is entitled to a small % share of any profits made by the Australian subsidiaries of the multi-national miners. Of course the international offices of these companies always run the Aussie subsidiaries at whopping great losses, so the Australian Tax Office is often in the invidious position of actually paying the miners huge refunds on their Australian operations. It has gotten so crazy that it is cheaper (by up to a third) to re-import Australian sourced LPG from Asia than to buy it locally! In only the last week the Australian Government has told the miners that it will, if needed, commandeer enough gas from them to keep our gas fired electricity generators running such is the level of gas shortages here. And we are the worlds largest exporter of LPG! Remediation of land is required, but often not well done if at all. .
  10. YES! A useful table Alan. Actually I liked one of your very early posts on this subject where you talked about the idea of rather than labelling lenses via their focal length or FOV, they could simply be called by a name. Thus a STD lens could be a 50mm for 135/FX/24x36mm, 35mm for APS-C/DX, and 25mm for 4/3 formats. And so on for the different degrees of FOV corresponding to WA or TELE lenses. Perhaps your table could be reconfigured into (say) 8 or 9 categories spanning the extremes of the WA, STD, and TELE groupings for the three formats that you have chosen along with the the corresponding focal lengths that fall into the chosen categories? .
  11. I'm a Pink Floyd Fan (for 40 yrs+) Roger Waters was founding member of the Political protest band Early on there was a band "divorce" & now he performs on his own They were famous for large scale laser shows with movie screen & Rogers Waters didn't disappoint Performance was at a basketball court (Golden Gate Warriors). The scale was impressive and the show had more than lasers The rear screen was as wide as the court & 30' high. It showed canned images and a movie camera (hence the spotlight glare) to superimpose the live performance on this huge screen After half time they dropped 5 screens down the center and full length of the court X 30' high Interesting monotone movie superimposed effects Rags
  12. Yesterday
  13. Walton, congratulations on your new camera. Luc's suggestion of the ECG-3 grip sounds like a good idea. I have an iShoot brand of Chinese L-Bracket on my M1 and it certainly makes a difference in achieving a good balance with heavier lenses such as those two that Luc cites (which I have and like a lot). The two lenses that I use the most are the 12-40mm and the 60mm Macro, but that is just me. Do try running the Nikon and M43 systems in parallel for a while as you restablish your preferred working arrangements. Sometimes it is handy to have (say) your wider angled lenses on one body and your longer lenses on another body, so both are ready to go without having to change lenses in a hurry and missing an important shot.
  14. Taken earlier this year while I was on Queen Street in front of our Old Toronto City Hall. As usual, there were a number of homeless people in this busy area occupying themselves in various ways. I noticed a man who was busily engaged in producing coloured drawings on the sidewalk, and was struck by the sadness in his expression, and the empty look in his eyes. I asked if I could take his photo, and he kindly agreed. motorized Nikon FG Nikkor 24 f2 AIS manual focus Fuji Velvia 100 ISO colour slide 5.6 @ 1/125th
  15. Thanks for the link to the calculator, FOV is something I use when evaluating what I'm going to be shooting and how big the subject will look in the frame
  16. Congrats Walton on your purchase. I have one and like it a lot. I highly recommend the ECG-3 accessory grip which makes handling lenses like the 12-40mm or 75mm more comfortable. Feel free to aak any questions on the E-M10II.
  17. I do hope you enjoy it, Walton. There is apparently an E-M10 Mk III coming out later on this year, but it certainly won't be selling at the price you paid.
  18. I suspect that complex menus are a feature of every brand of modern camera! I can't speak for any of the Olympus models but my Fujifilm X-T2 menu is very complex due in no part because the camera is so programmable with a ton of options! It just takes a while to get used to them, but not necessarily to be an expert menu basher!
  19. Hugh: Thanks for a great explanation. Dallas: Thanks to you, too, for your information. I was going for the M1, but then your explanation to me routed me to the M10 Mark II. I ordered from Amazon and they dumped the order. Due to where I live, they will no longer ship ANY LITHIUM batteries to me,,,, which includes the box with the camera. So, I went to B&H and bought it there, with an extra battery. I hope they will ship it. I guess I find out tomorrow. Yes, I settled on the new model, M10 mark II. I hope the menus are not as quirky as the Lumix. Time will certainly tell. Watch the classified for the answer. Do I try and sell one camera body, or two.
  20. For those who do not know, this is protected land and wilderness that trump and his running dogs plan to give away to extractive industries!
  21. I use both the E-M1 classic and E-M1 mkII with eyeglasses, both viewfinders are quite easy to see. As far as the menus, the Olympus ones are massively complex and thorough. The can be a bit intimidating at first, but once you go all in they make sense and work well. I have two basic modes I switch between, and I use the handle switch by the viewfinder to toggle between the modes. The programmable function button on the Olympus pro line lenses are also great. I will differ with Dallas on the Olympus 50-200 versus the 40-150 PRO, I tried his 50-200 when we were on safari and would not trade it for my 40-150, and I know Dallas would not trade the other way either. I wish Olympus had a pro lens to cover the gap in between 150 and 300mm, hope they are listening.
  22. Vivion, as Alan shows us certain parts of the world like Tasmania revert back to b&w in colder winter time.
  23. Good ol' Albert Park Swamp Lake. The reflections are nice.
  24. I do cos I went to the Olympus sight and looked it up - 21mm!
  25. Vivion, you really must take more water with it.
  26. Early one this week as the end of the week is going to be busy. Week 26 Probably could do with going back with a tripod and remote release.
  27. Mike, you have completely misunderstood the history of B/W. It's not that B/W was the only film available before the advent of colour. It's that the real world was in B/W before the start of global warming in the 1930s, which coloured the world by heating it up.
  28. I don't think the Nik collection is quite as close to death as some people are making out- I think there is an OS upgrade or two in my copy at least.
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