冬天的太陽 - 攝影手札: Digital Camera 數位相機

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2025年8月9日星期六

Sony A7C, Konica Hexanon 35/2, Voigtlander Color-Heliar 75/2.5 Combination 外拍組合

2025.7.27

The Sony A7C is my second Sony full-frame digital camera. I bought it because its lightweight body (compared to the Sony A7III) is perfect for adapting classic RF film camera lenses, such as Leica M39 lenses or Contax/Nikon RF lenses. Pairing the silver-and-black camera with two silver lenses for outdoor shooting feels like stepping back into the 1950s — a perfect match.

Traditional RF film cameras have a physical limitation in close-up photography because the optical axis of the lens and that of the rangefinder window are not the same. As a result, most lenses are designed to focus only down to about 0.9–1 meter. Nowadays, many lens adapters are designed with a focusing helicoid, which allows the focusing range to extend by about 5 millimeters when the lens is mounted on a digital mirrorless camera, shortening the minimum focusing distance by several tens of centimeters and adding even more enjoyment to shooting.

Sony A7C 是我的第二台 Sony 全幅數位相機，購入的原因是她輕便的機身(相較於Sony A7III)非常適合轉接傳統RF底片相機的鏡頭，例如Leica M39鏡頭或Contax/Nikon RF鏡頭。銀黑色的相機搭配兩顆銀色鏡頭外拍，彷彿回到了1950年代，真是絕配啊。傳統RF底片相機由於鏡頭的光軸和測距窗的光軸並不一樣，在近距離拍攝上有物理限制，因此大部分的鏡頭在設計上僅能對焦到0.9~1米。現在很多轉接環在設計上都加入的調焦功能，當鏡頭裝在數位相機上時對焦可以再延伸約5毫米，讓最近對焦距離可以縮短數十公分，在拍攝上的樂趣就更大了。

Sony A7C and Lens Combo

Sony A7C, Konica Hexanon 35/2

Voigtlander Color-Heliar 75/2.5

2025年5月11日星期日

Canon PowerShot G16 + TC-DC58E @ Badaozi Fishing Port 八斗子漁港

20250501

This Canon PowerShot G16 digital camera, launched in 2013, has been with me for over a decade. I've changed its lithium battery three times, and currently, all functions are still working well. Despite the convenience of immediate editing and uploading with an Apple iPhone for everyday photography, which has become a handy tool, I still often take this digital camera out to experience the feeling of operating a camera. The Canon PowerShot G16 features a 5x zoom lens with a 135 equivalent focal length of 28mm-140mm. To maintain image quality without using digital zoom, I can attach the original 1.4x teleconverter lens (TC-DC58E) from Canon, extending the telephoto focal length to 196mm.

這台2013年上市的Canon PowerShot G16隨身數位相機，我已經使用了十幾年了，鋰電池也換過三輪，目前各項功能都還很正常，雖然Apple iPhone手機拍的照片具立即編輯和上傳的便利性，已經成為日常生活照的攝影利器，有時候我還是常常帶這台數位相機出門，回味一下操作相機的感覺。Canon PowerShot G16的鏡頭具備五倍變焦，135等效焦距是28mm-140mm，為了能夠在不使用數位變焦，維持原解析度的影像品質下，可外掛原廠1.4倍望遠鏡頭(TC-DC58E )，讓望遠的焦距達到196mm。

Canon PowerShot G16

Canon PowerShot G16 + TC-DC58E (1.4x Tele-converter)

During a recent visit to Keelung's Badaozi Fishing Port, I exclusively used the Canon PowerShot G16 + TC-DC58E for photography. The weather that day was overcast, and the camera's white balance faithfully portrayed the simple fishing port, lacking the vibrant tones of smartphone photos, which made it feel like a true representation of what was seen. Several small fishing boats equipped with high-wattage lights were moored in the port, used for attracting light-sensitive fish or squid during nighttime fishing, also known as 'lantern fishing'.

這次到基隆八斗子漁港一遊，就完全使用Canon PowerShot G16 + TC-DC58E來拍攝。當天天氣是陰天，相機本身的白平衡忠實的呈現樸實的漁港，少了智慧手機照片的鮮豔色調，讓人感覺到這才是真正的所見及所得。漁港內停了數艘釣小管的漁船，船上裝載有高瓦數的電燈，夜間可吸引趨光性的魚群或小管靠近捕撈，也稱作燈火漁業。

2024年6月10日星期一

Auto CHINON MC 55mm f1.7 M42 on Sony A7III

2024/6/9

Today, I took my CHINON 55mm f1.7 lens, which I've been collecting for years, out for the first time to shoot some flowers and plants. After attaching a 12mm extension tube and an adapter, I mounted it directly onto my Sony A7III digital camera. This setup basically turns it into a macro lens with a magnification of around 1:4 to 1:2.5. If I switch to APS-C mode, the magnification goes up to about 1:1.5, making it easy to capture close-up shots of the little yellow daisies (Wedelia) like the one shown here.

今天第一次帶著收藏多年的CHINON 55mm f1.7出門拍些花花草草，裝上12mm的延伸環和轉接環後直上Sony A7III數位相機，基本上就是約1:4~1:2.5的微距鏡頭了，如果再切換到APS-C模式，就是1:1.5左右的倍率，很容易就可以拍出以下小黃菊(蟛蜞菊, Wedelia)的近拍照。

Auto CHINON MC 55mm f1.7 + 12mm extension tube

I hadn't paid much attention to this lens before, mainly because I bought it along with the CHINON CM-3, an M42 film camera. Since CHINON was primarily an OEM for cameras and lenses, and its own brand was often associated with budget cameras and lenses, I didn’t particularly care about the optical quality of this lens. However, after recently researching this 55mm f1.7 lens online, I came across a claim that it was manufactured by the renowned Tomioka Optical. This piqued my interest, and I decided to give it a try.

以前沒有特別注意這顆鏡頭，主要是因為它是跟CHINON CM-3這台M42底片相機一起購入，由於CHINON本身是相機和鏡頭代工廠，自主品牌則常是廉價相機鏡頭的代表，我對這棵鏡頭的光學品質並未特別在意。前這子網路上查詢這顆鏡頭的資訊時，看到一種說法，即這顆55mm f1.7的鏡頭是有名的富岡光學代工，也就興起了試拍的念頭。

Auto CHINON MC 55mm f1.7 M42

In June, before the peak of the hot summer, the pathway along the Sunshine Bridge in Xindian is lined with blooming little yellow daisies. The insects are also drawn to the flowers, lingering and flitting back and forth.

六月天，在進入炎熱的夏季前，新店陽光橋下的步道沿線都是盛開的小黃菊，蟲兒也受到了吸引，流連往返。

Auto CHINON MC 55mm f1.7 + 12mm extension tube

Auto CHINON MC 55mm f1.7

2024年5月26日星期日

Rebirth Zeiss-Opton 50mm f2 on Sony A7III 老鏡復活

2024/5/26

Zeiss-Opton 50mm f2 T on Sony A7III

In 2005, when CONTAX cameras were discontinued and digital cameras were becoming increasingly popular, I bought my first digital SLR — the Canon EOS Kiss Digital. I later upgraded to the EOS 5D Mark II, partly because it allowed me to use CONTAX lenses via an adapter. The downside was that I had to focus with the lens wide open, then stop down to meter the light before pressing the shutter — a cumbersome process. At the time, my biggest hope was that a manufacturer would eventually release a full-frame digital camera with a universal mount and electronic viewfinder, so that my CONTAX Carl Zeiss lenses could be revived in the digital age, bringing back the joy of manual focus photography.

在2005年，CONTAX相機停產，數位相機逐漸普及時，我買了第一台數位單眼相機Canon EOS Kiss Digital，之後也升級到EOS 5G Mark II，目的之一就是可以透過轉接環使用CONTAX鏡頭。它的缺點是需先用大光圈對焦，再用縮光圈測光，之後才能按下快門拍照，因此當時我的最大的期待就是有家廠商出了一台萬用接環具有電子式觀景窗的全幅數位相機，可以讓我的CONTAX Carl Zeiss 鏡頭可以在數位時代復活，恢復手動對焦攝影的樂趣。

Finally, in 2013, Sony released the first full-frame mirrorless camera. With its short flange distance of just 18mm, it not only supported SLR lens adapters but also allowed lenses from traditional rangefinder cameras to be used. In order to continue using my collection of lenses — Contax SLR/RF, M42, L39, and Hasselblad — in the digital photography era, I chose the right time to switch my entire Canon EOS camera and lens system to the Sony A7 series.

終於在2013年，Sony發表了第一台全幅無反光鏡單眼相機，由於法蘭距僅18mm，不但適合轉接單眼相機的鏡頭，也讓傳統連動測距式相機的鏡頭可以轉接後使用。為了讓我收藏的各種鏡頭Contax SLR/RF、M42、L39、Hasselblad 可以在數位攝影時代能繼續發揮，我找了適當的時機將全套的Canon EOS相機和鏡頭換成Sony A7系列。

This Zeiss-Opton 50mm F2 T lens is over 70 years old, yet it still performs beautifully on the Sony A7 III. In this backlit shot of a Bauhinia flower petal and green leaves, the transparency is stunning, and the countless bokeh highlights in the background seem to be celebrating the rebirth of a vintage lens.

這顆 Zeiss-Opton 50mm F2 T 已超過70年，在Sony A7 III相機上仍然發揮得很好，這張背光的羊蹄甲花瓣與綠葉，晶瑩剔透，背後無數光點，看似慶祝老鏡重生。

Zeiss-Opton 50mm f2 T

2022年8月21日星期日

Starburst Bokeh with a Soviet Macro Lens: Индустар-61 Л/З 50/2.8 (Industar-61 L/Z 50 2.8) 星芒特殊散景蘇聯微距鏡

2022.8.21

The Industar-61 L/Z 50/2.8 MC M42 macro lens from the Soviet LZOS factory features an optical structure with a Zeiss Tessar design, consisting of 4 elements in 3 groups. This lens can produce a distinctive six-pointed starburst bokeh between apertures f5.6 to f8. Although Christmas is still four months away, in order to capture the special starburst bokeh, the photographer had to bring out Christmas decorations to serve as the background for Santa Claus.

來自蘇聯LZOS工廠的Industar-61 L/Z 50/2.8 MC M42微距鏡，使用蔡司Tessar 4片3群的光學結構，在光圈5.6~8之間可拍出六芒星的特殊散景。雖然今年聖誕節還要4個月才會來臨，為了拍出星芒特殊散景，也只好把聖誕燈飾找出來當聖誕老公公的背景了。

Sony A7 Mark II + Industar-61 L/Z 50/2.8 MC (six-pointed starburst bokeh 六芒星散景)

NONS SL42 + NFE + Industar-61 L/Z 50/2.8 MC

The exterior design of the lens exudes the rugged and robust aesthetic characteristic of the fighting nation. 鏡頭外觀是戰鬥民族貫有的粗曠感

Industar-61 L/Z 50/2.8 MC Apeature Fully Opened 光圈全開

Industar-61 L/Z 50/2.8 MC Apeature 光圈 f5.6-8

Industar-61 L/Z 50/2.8 MC
4 elements 3 groups optical formula 4片3群的光學結構
https://allphotolenses.com/lenses/item/c_343.html

2021年8月26日星期四

Sony A7 II + Konica、Voigtlander L39 Lens Test 鏡頭測試

2021.8.24-26

Recently, I've collected three L39 lenses:

Konica Hexanon 35/2: Derived from Konica's fixed-focus automatic camera Hexar, this lens was limited to 1000 units in 1996. It features a 7-element, 6-group design, reportedly inspired by the Leica Summicron 35/2. It has a minimum focusing distance of 0.9 meters, aperture range from 2 to 16, and a 46mm filter thread. It comes with original lens hood and front/rear caps. The one I have is numbered "853."
Kinishiroku Hexar 50/3.5: This lens emulates the design of the Leitz Elmar 5cm f/3.5. It has a 4-element, 3-group Zess Tessar design, with a minimum focusing distance of 3.5 feet and aperture range from 3.5 to 22. It was first sold in 1955, paired with Japanese-made cameras mimicking the Leica III (L39) such as Chiyotax, Leotax, Nicca, etc.
Voigtlander Color-Heliar 75/2.5: Released in 1999, this is said to be the first 75mm lens with an L39 mount after World War II. It features a 6-element, 5-group design, with a minimum focusing distance of 3.5 feet or 1 meter, and aperture range from 2.5 to 16. It has a filter thread of 43mm.

最近收集了三顆L39鏡頭:

Konica Hexanon 35/2 源自Konica的定焦自動相機Hexar的鏡頭，在1996年限量銷售1000顆，鏡組是7片6群的結構，據說是源自Leica Summicron 35/2的設計，最近對焦距離為0.9米，光圈為2~16，濾鏡口徑46mm，附有原廠遮光罩與鏡頭前後蓋，我手邊的這顆是編號"853"。
Kinishiroku Hexar 50/3.5 模仿 Leitz Elmar 5cm f/3.5 設計的鏡頭，鏡組同樣是是4片3群的Zess Tessar設計，最近對焦距離為3.5英呎，光圈為3.5~22，濾鏡口徑34.5mm。首次銷售是在1955年，搭載一樣是模仿Leica III (L39)相機的日本製相機，如Chiyotax、Leotax、Nicca等品牌。
Voigtlander Color-Heliar 75/2.5 1999年上市，據說是二次世界大戰後的第一顆L39接環的75mm鏡頭，鏡組是6片5群的結構，最近對焦距離為3.5英呎/1米，光圈為2.5~16，濾鏡口徑43mm。

The 1955 Kinishiroku Hexar 50/3.5 lens, paired with the 2015 Sony A7 II, demonstrates how the advent of full-frame mirrorless digital cameras has revived many vintage lenses in the digital imaging era. Additionally, it's suggested to consider versions of Leica L39 to Sony E mount adapters with close focusing functionality, allowing traditional rangefinder lenses with limited focusing to focus closer than 1 meter.

1955年的 Kinishiroku Hexar 50/3.5 老鏡搭上 2015年的 Sony A7 II，多虧全幅無反數位相機的問世，讓許多老鏡可以在數位影像時代重生。另外，也建議Leica L39 轉 Sony E接環的版本可以選購有微距條焦功能的版本，可讓傳統只能對焦到1米左右的測距相機鏡頭可以近拍到1米以內。

Sony A7 II with Kinishiroku Hexar 50/3.5

Leotax K with Kinishiroku Hexar 50/3.5

Left to right: Konica Hexanon 35/2, Kinishiroku Hexar 50/3.5
and Voigtlander Color-Heliar 75/2.5

Left to right: Konica Hexanon 35/2, Kinishiroku Hexar 50/3.5
and Voigtlander Color-Heliar 75/2.5

In late August 2021, as the first wave of the Covid-19 pandemic in Taipei gradually subsided, restrictions began to ease, and kids' soccer training resumed. During a few days when I had spare time while accompanying my child to classes at Da Jia Riverside Park, I took a stroll nearby with these three L39 lenses and the Sony A7 II camera, capturing some test shots.

2021年8月下旬，台北第一波Covid-19重大疫情逐漸消退，大家也開始解封，小孩的足球集訓也展開了。趁著幾天到大直迎風河濱公園陪小孩上課的空檔，我帶這這三顆L39鏡頭和Sony A7 II相機在附近逛了一圈，留下一些測試相片。

Konica Hexanon 35/2

Voigtlander Color-Heliar 75/2.5

Kinishiroku Hexar 50/3.5

2013年7月10日星期三

Hasselblad 500c, Pinhole Lens ^_^ My First Time Pinhole Photography 針孔攝影第一次

I've had this "pinhole lens cap" from Rising for quite a while now, but I never had the chance to take it out for a test shoot. Taking advantage of a day off, I decided to bring it out to soak up some sun and experience pinhole photography. In addition to the camera and pinhole lens cap, a tripod and a cable release are essential tools for pinhole photography.

這個Rising出的「針孔鏡頭蓋」買了有好一陣子了，一直沒有機會拿出來試拍，趁著一天放假拿出來曬曬太陽，也體會一下針孔攝影。除了相機、針孔鏡頭蓋以外還有三腳架和快門線都是針孔攝影不可或缺的工具。

Mounted on the Hasselblad 500c with the "pinhole lens cap."

裝上「針孔鏡頭蓋」的 Hasselblad 500c

Specifications of the "pinhole lens cap":

f185 (for convenience, using f192 for metering)
Angle of view: 62 degrees (it is recommended to frame using the 80mm standard lens)

「針孔鏡頭蓋」的規格:
f185 (使用上以f192測光較方便)

視角62度 (建議直接用80mm標準鏡頭構圖)

Setting up the tripod in the center of the Chiang Kai-shek Memorial Hall square, I used the wider-angle lens Carl Zeiss Distagon 4/50 C to frame the shot. First, I took a photo with the optical lens for comparison, also to set the aperture and shutter values. At the moment, at f192, it required approximately 10 seconds of exposure.

在中正紀念堂廣場中央架好腳架，用較「針孔鏡頭蓋」視角更廣的廣角鏡頭Carl Zeiss Distagon 4/50 C來構圖，先拍一張光學鏡頭的照片作為比較，一方便也確定好光圈和快門的值，當下換算f192大約是需要10秒鐘曝光。

This is the image taken with the Carl Zeiss Distagon 4/50 C wide-angle lens.

這是 Carl Zeiss Distagon 4/50 C 廣角鏡頭的成像

Next, I switched to the "pinhole lens cap." At this point, the tripod became crucial. Changing lenses requires avoiding any movement of the camera and tripod. If accidentally moved, it's advisable to reconfirm the framing, as film and developing in the digital age can be quite expensive. Once the "pinhole lens cap" was securely installed, I pressed the cable release and counted silently to 10. 1, 2, 3,... 10. Done. Around 3:00 PM, there were inevitably people moving about in the square, so the blurred figures were expected.

接下來換上「針孔鏡頭蓋」，這時三腳架是重點，更換鏡頭過程須避免相機和腳架的移動，不小心動到的話，建議再構圖確認一次，畢竟在數位時代底片和沖片都是很貴的，還是小心為妙以免浪費。「針孔鏡頭蓋」安裝妥當接下來就是按下快門線並默數10秒鐘1、2、3、、、10，完成了。下午 3:00左右，廣場上有人是一定的，所以人影晃動的影像是預期中。

這就是針孔成像?
Is this what pinhole imaging looks like?

After developing the film, I measured the proportions of the images. It would have been a more accurate choice to use the Carl Zeiss Planar 2.8/80 C for framing, as several photos captured buildings that were too large due to the wide-angle lens, resulting in them being cut off in the pinhole images. The main subjects became incomplete, which can be considered a case of failed work.

底片洗出來後，我量了一下成像的比例，改用Carl Zeiss Planar 2.8/80 C來構圖應該是比較正確的選擇，因為有好幾張相片中的建築物因為在廣角鏡頭了拍得太大，在針孔成像時都被切到了，主題建物變得不完整，算是失敗作品的案例。

Link to the "First Time Pinhole Photography" album.

「針孔攝影第一次」相簿連結。

2013年6月23日星期日

Canon EOS 5D2 and Carl Zeiss lenses @ Neidong Forest Park 內洞森林遊樂區

2013,6,23

Personally, I think the greatest contribution of digital SLRs to the photography world is the revival of traditional manual lenses. In the digital age, it allows enthusiasts of old photography to experience the tactile sensation of old lenses again, while introducing the charm of these lenses to new photography enthusiasts. Before Sony mirrorless cameras entered the market, the Canon EOS 5D/5D2 was always the preferred choice for adapting traditional SLR lenses. I have personally adapted Contax/Yashica, Nikon, and M42 series lenses. The biggest challenge when adapting traditional manual lenses to digital SLRs is focusing. Apart from using a full matte focusing screen for naked-eye focusing, there are generally two options: (1) replacing the traditional split-image focusing screen to fully restore the traditional focusing method, and (2) adding a focusing chip to the lens adapter ring to restore autofocus (AF) focus confirmation functionality. These aids somewhat increase the convenience of manual focusing, but the precision ultimately depends on individual skill.

個人覺得Digital SLR對攝影界最大的貢獻，就是讓傳統手動鏡頭可以復活，在數位時代讓老攝影同好回溫老鏡手感，讓新攝影同好體驗老鏡魅力。在Sony無反相機上市前，Canon EOS 5D/5D2一直是轉接傳統單眼相機鏡頭的首選，我自己就轉接過Contax/Yashica、Nikon和M42系列鏡頭。傳統手動鏡頭轉接Digital SLR後，最大的挑戰是對焦，除了全磨砂裸眼對焦屏裸眼對焦外，一般還有兩種選擇 (1) 更換傳統裂像對焦頻，全部回復到傳統對焦方式，(2) 鏡頭轉接環加裝對焦晶片，回復AF對焦點確認功能，這些輔助多少增加了手動對焦便利性，精確度就看個人功力了。