In the first part of this article I took a look at the "Vivitar 135mm f/2.8 Auto Telephoto Close Focusing" lens (to give it the full name). I covered its history, physical qualities, and distinguishing features. Plus I compared it briefly to some similar lenses (though see my older article for more on that). Figuring that it was time for some photos, I simply stepped out into my garden.
All of these shots were taken with an Olympus PEN E-PL2 camera. The lens is M42 mount, first adapted to K-mount, then to Micro Four Thirds. I used a tripod and timer. You can see pictures of this setup in my last article.
Back in 2010 I published two articles on 135mm focal length lenses. The first was an overview with a special focus on Pentax, since I was using that system extensively at the time. The second article went into more detail and recommended three specific models.
As it turns out, there's been renewed interest in these articles lately, plus I've been discussing the same topic on a couple of forums. It struck me that I have never covered the very lens that turned out to be my favourite of the bunch. With spring flowers begging for photos, it's time to set that right!
Read on for the scoop on the lens with the maximal moniker, the "Vivitar 135mm f/2.8 Auto Telephoto Close Focusing".
One of the joys of digital media is managing all the darned content. Considering this, I thought I would outline my typical workflow the day after an event, say a sonic performance. I attended two of these this weekend, so the process is one I'm currently busying myself with.
I am sharing this even though it's likely the least interesting topic ever to appear on this blog. Still, I have learned that self-documentation is a good thing. Further, stuff I take for granted others find useful... even if only as a reminder. Third, I am waiting for files to copy and so have time on my hands.
To make this slightly more palatable, I have included an unrelated photo of a dandelion.
Five bands are to play at Raggle Taggle in downtown Limerick, tomorrow, Saturday 18 May 2013. This is the final event before this arts and culture space closes. Entry is a mere five Euro at the door. We open early and will start the music soon after 8pm.
Innercity from Belgium and Modulator ESP from the UK are on tour, supported by three brand new acts, each of which includes some of your favourite local Irish performers. Projections and video work plus visual art complete this evening of deep listening and fun experimental vibes.
If you are at all interested in experimental and improvised music, you want to be in Cork this Sunday 19 May at 3pm. Specifically, get to University College Cork at the beautiful Glucksman Gallery for a concert involving many of the participants in the sixth Sonic Vigil. These include The Quiet Club, Katie O'Looney, John Godfrey, Harry Moore, Mersk, Karen Power, Anthony Kelly and David Stalling, Kevin Tuohy, Jeff Weeter,... and myself.
I was recently made aware of Susanna Caprara, an Italian sound artist and field recordist based in Dublin. From her blog I see that she was awarded the Grand Canal Commission by the Offaly County Council, an award for which I was short-listed. It's a small world in Ireland!
I read with interest her post "High heels & XLR cables" (witty title!) and drafted a short response that somehow took on a life of its own. Realising that my own blog is becoming rather derelict, I thought I'd post it here and hopefully encourage further dialogue. Consider writing your own personal response, so that greater awareness is brought to these issues.
First read Susanna's post and then continue.
This is the third in a series of articles on choosing external microphones for portable digital recorders. Part one discussed why we might want to improve on the mics that come with our recording devices and part two was an overview of microphones themselves plus power and cabling requirements.
If you have been reading with your own needs in mind, it should be becoming clear which mics you should be looking for. Otherwise, now is the time to fix your objectives in mind. Are you recording lectures or community meetings? Are you gathering dialogue for a video? Are you conducting interviews in the street? Are you recording live concerts or your own band in rehearsal? Are you making nature or soundscape recordings?
I hope you checked out part one of this series, which set the stage by discussing portable audio recorders and the possible limitations of their built-in microphones. Given that you have decided to purchase some external mics, what types are available? Which are appropriate to the task at hand?
Microphones can be defined in several ways, but two of the most important concern how they work as transducers and their pick-up pattern. I won't get into details that are too technical, but will rather restrict myself to practical matters. Then I will examine microphone power requirements, which has important ramifications for matching them to recorders.
It's so easy to buy a good portable digital recorder these days, but once you have such a device the next issue is getting a good set of microphones. The topic of mics is significantly more complicated, since there are thousands of possibilities and numerous related technical issues.
What types of microphones are there? Which are optimal for which tasks? What connectors do you need? Does the microphone require power and how do you provide this? In this article I will start to address these questions, assuming limited knowledge. Though this series is only a primer, it will give you a head start on understanding the more detailed information available all over the web.
In the first blog entry I will review my articles on choosing an audio recorder, and then discuss certain limitations of the built-in mics. In the second part I will define different types of microphones, and discuss their power requirements. In the third article I will examine several common recording tasks and discuss the most appropriate microphones for each.
Not only is John Greenwood proprietor of the best bar in Limerick (great tunes, fab drink selection, lovely decor, smashing sound system), but he also has an open and community-oriented ethos. The general sound at Dr. John's favours acid jazzy dance beats, but he hosts everything from film nights to country music once a month. His new series is called Steps 2->3 and involves practitioners talking about their stuff.
Saturday 23 February it's my turn. But I am not as interested in talking so much as I am in listening. So I will play you a special sound and you can tell me what it reminds you of, what it sounds like. Or try to guess what it really is. Then I can fill in the background and answer any questions you may have.
I have gathered a set of amazing sounds, including some that I can guarantee you have never heard before. So please drop by at 2pm. The only requirement is a pair of open ears. Admission is free (of course).
Explore my many activities using the main menu above and search form below. Subscribe in each category to get new articles automatically. Visit my master page for even more. Email "robin [at] robinparmar [dot] com".
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