My mom declared that there shall be no reunion dinner this Chinese New Year. Which was very un-Chinese, so I decided to hanker on with one of the traditions anyway - cleaning up the house!

I managed to garner 4 cardboard bags full of old magazines and leaflets. Home alone, I took 4 trips across the neighborhood playground to the recycling bin. On my 3rd trip back, I saw this mom and son carrying old clothes to the bin (which also doubles as a donation box for old clothes.)

On my 4th time there, a car was in my way - a macha had loaded 3 of my bags into his front seat! He asked if I was carrying more books. Yes, I said, and I passed him my last bag.

Bless him for doing his bit, and bless him if he gets money out of it.

I wanted to take a picture of my 4 bags lying near the bin to declare "PAPER IS DEAD TO ME!" but I was a bit too late.

My housemate (if you read my blog, you'd know who he is) came back, and we hauled out 6 more bags to the neighborhood recycling bin! This time an older couple was throwing out their stuff. It's a nice feeling seeing people recycle.

Seriously though, I don't see the value to paper anymore. What did I throw out?

- old college books that were outdated and irrelevant even when I got them
- newsletters
- computer price lists
- newspapers
- annual reports (my housemate is a massive hoarder)

I did not throw out my massive stash of:
- Guitar And Bass
- ROTTW (Rhythm Of The Third World)
- TONE (yeah man!)
- KLue

All of this information, is better in digital format. When you have no use for it - delete it!

I have no romantic notion with print. I don't read books on the bus - instead my mind wanders to a random curiosity and I read Wikipedia on my Nokia N70. (I've been doing this long before all you iPhone yuppies!) If you have a stash of annual reports you can bet that finding the information under a big pile, with dust, is not as convenient as a digitized format.

Even if digital formats do die, the information is probably of less relevance by then.

Oh, and Happy Chinese New Year everybody! Happy Valentine's Day, and Singles Awareness Day. I have to say the SAD nights are more fun because they're not so expensive.

* the picture above has nothing to do with the recycling bin.

I have a system for maintaining a good amount of change in my wallet. I separate it into 3 compartments:

COMPARTMENT #1: The RM50 compartment

I will always have at least one RM50 in my wallet. If I don't I will feel uneasy and have this look like I need to go to the ATM!

It is very important that the RM50 notes are separated from the RM1 notes, which can be easily confused for each other as they are blue-green.

COMPARTMENT #2: The RM10 or less compartment

I will always have at least one RM10 and a few RM1 notes in this compartment. If I don't, I will strive to break a RM50 note.

This is vital for taxis and vending machines who may not have change. Don't expect them to come up with change, seriously.

I get annoyed with 7-11s that don't have change, but I understand that the kids behind there are just not educated with the idea of maintaining change. Not to be racist, but I do find stalls that are manned by a certain race tend to not have change more often... inability to plan and be prepared is ingrained in their culture, I guess. Who runs Carls Jr. Pavilion so badly that there are no beef or chicken patties on a Sunday at 7pm?

COMPARTMENT #3: The AUXILLARY CHANGE compartment

I keep all my ancient RM1, RM2, RM5 and RM10 notes here. They're kinda like my collector's items. I also add at least one modern RM10 note, one RM5 note and 5 RM1 notes in this compartment.

When you've got no change in COMPARTMENT #2, which can happen if you're hit by a strain of having to take a cab, buy a currypuff, buy a KTM ticket and go to a shopping mall toilet... you may need to break into the emergency COMPARTMENT #3.

Sometimes I do run out of change in COMPARTMENT #2 and I try to break a RM50 note with a taxi driver. However he may insist that he really has no change. Sometimes, you take a cab to a place in the middle of the night that has no 7-11, or the 7-11 has no change, and you're both screwed!

That is when I have to break, uncomfortably, into thy hallowed COMPARTMENT #3. (This is also why I make it a point to replenish COMPARTMENT #2 as soon as possible.)

I may also open COMPARTMENT #3 if forced into a situation where my friend does not have change for parking. I graciously help my friend, who is obviously then giving me a lift.

However, it is the responsibility each car owner to be well prepared with their own Change Management system, to avoid carrying a heavy wallet full of 50 sen coins!

Thus, in total, I would minimally have:
COMPARTMENT #1: RM50
COMPARTMENT #2: RM10 + RM1 (x5) = RM15
COMPARTMENT #3: RM10 + RM5 + RM1 (x5) = RM20

Total carried: RM85

Of course, there is the ATM card as well. I try to keep my COMPARTMENT #1 having anywhere between RM50 and RM200 (any more, and I would look for a Cash Deposit Machine).

This post is dedicated to George Wong, who writes the best thought pieces ever!

Things I spotted at Sony Style KLCC today!


The bronze Sony Alpha 330! It looks every bit as good in real life, as it looks in the picture. Which is really, really good.


And then, there is the first ever Sony lens with a 67mm filter thread... (say what?)


The much awaited Sony 28-75mm F2.8 SAM! Note that there is a Lock switch to hold it at 28mm, and the focus ring is reverse from most Sony lenses. It is noticeably smaller than the Zeiss 24-70mm F2.8.

Minimum focus distances:
Sony Vario-Sonnar T* Carl Zeiss 24-70mm F2.8 SSM ZA = 34cm
Tamron/Minolta 28-75mm F2.8 = 33cm
Sony 28-75mm F2.8 SAM = 38cm

We all know that the Sony is a rebadged Tamron - it's obvious from the reverse focus ring and filter size. However, why is the MFD changed from 33cm to 38cm?

The Tamron 28-75mm F2.8 in Canon EF mount comes with a micro-motor since all Canon EOS cameras do not have in-body motors. The Nikon F mount version also has that micro-motor. Both Tamrons can still do 33cm with a micro-motor! So why can't Sony?

Obviously, because a Sony 28-75mm F2.8 that does 33cm MFD compared to a Zeiss 24-70mm F2.8 that does 34cm MFD looks better on paper!

I have to say this, I absolutely hate SAM for lenses that are meant to be matched on higher-end bodies (A850/A900) which have the AF/MF toggle and DMF functionality, because SAM makes any on-body MF control impossible. It's not so bad to have SAM on a kit lens but not on a lens that is targeted to full-frame users.

And yet, it is hard to write off this lens - optically, it is superb, even wide open! I didn't bring my A900 + Minolta 24-105mm F3.5-4.5(D) to compare, but what I shot looks very impressive, with good corners at F2.8. Focusing isn't very fast though, and it feels a bit slow to draw at macro distances sometimes. I guess it's best to have a Zeiss 24-70mm owner to compare as the Zeiss 24-70mm has faster SSM (compared to other lenses in its 24-70mm range.)

Its weight is superb - it's light enough and yet it balances very well on the A850! If the 24-70mm ever felt too heavy, this will feel miraculously matched.

Pixel peeping will come another day!



Pros:
- good balance on the A850/A900
- good optical quality wide open even on the corners
- cameras with a F2.8 sensor (A700/A850/A900) will gain more accuracy

Cons:
- SAM motor implementation makes the very useful AF/MF and DMF functions on the A700/A850/A900 useless
- focus ring turns in the reverse direction of all Sony lenses (like the Sony 18-200mm and 18-250mm)
- 38cm MFD is a downgrade from the Konica Minolta/Tamron 28-75mm F2.8 which focused to 33cm close

Personally, if I could find a good copy of the Konica Minolta/Tamron 28-75mm F2.8, I would pick that over this Sony, only for the AF/MF and DMF functionality.

And finally, some leftover lens pr0n:

Down on the catwalk, 27th April 2008, at 1 Utama...


...with the Minolta 70-210mm F4 beercan on my A700.


Male models - that is when you hear all the male camera-owners take less pictures.

I really don't get what's so great about catwalk photography for most male camera-owners. "Oh it's so difficult!"


Pfft, the models pause at the front of the catwalk and turn around for all to see. The lighting is consistent. People who say it is difficult should get out more and shoot more genres.

Obviously, the guys are there for the female models, and for a chance for the typically bespectacled engineer/IT support person to use his expensive telephoto lens (which practically can't be used at home.) You see all these uncles as well, overjoyed that their big lenses finally get some use!

I went with some friends once to shoot. We'd all huddle up in the photographer booth, which was elevated. We'd shoot a half-hour session, and not leave the booth during the intermission, in fear that we'd lose our space.


Yeah I get excited, I like pretty faces. I like how she looks so much like Kristin Kreuk!

However, by 3 to 4 half-hour rounds, I got bored of seeing the same faces! You see the same faces at every catwalk/fashion show. (Everybody loves Andrew's Models.)


So what can I say? Obviously, the straight guys are not into shooting catwalks for the fashion. I know they don't care and neither did I for the clothes.

However, I will comment on this outfit - I don't like it when girls dress up in shape-less gunny sacks.


And now, fast-forward to 7th August 2008, at Twenty-One, for a showcase of Kariza Designs! At least these models were different because they were all friends of the founder/founder's brother's girlfriend.


Twenty-One was tight, and no telephoto would've been comfortable.


Not that I even brought a telephoto that night - I only had the Carl Zeiss Jena Flektogon 35mm F2.4 on the A700. Manual focus was a challenge, and there were many spoiled shots!


Sorry Shannon there's an elbow!


"Ooo, I have feet now."


Yes, it was real packed!


I'm not sure what was up with my lens that night, but it seemed to have some focus curvature.


I found the concept to be amazingly cool - a colorful batik wrap that can be transformed into many different outfits! Instructional DVD included with every unique design.


Group shot! Argh, again the focus curvature.


Catch a flash.

F22: What is that I see, right in front of me?


F2.8: Speaker grilles!


F14: Stereo mike.


F2.8: More speaker grilles!


What else, but the new Sony 30mm F2.8 DT Macro SAM lens! It features SAM (Smooth Autofocus Motor) and an AF/MF switch, and can focus to 129mm from subject to sensor plane (or 20mm from the front of the lens). Interestingly, they mark the inches with "in" where there is space.

It can capture an image at 1:1 magnification - that is, the surface area captured is equal to the sensor size (23.5mm X 15.6mm on the A700 for example).


From the underside at F2.8; notice the longitudinal chromatic aberration (the reddish outline in front of the focus point, and the greenish outline behind the focus point.)

A slight rant - people tend to confuse longitudinal chromatic aberration with lateral/transverse chromatic aberration (which appears towards the sides and corners of wide-angle lenses) and purple fringing (which appears at the point of focus, especially with white on black detail.)

More reading on the various types of chromatic aberration, here.


F2.8 (100% crop from the Sony Alpha 900.) This lens has longitudinal chromatic aberration (or LoCA in short.) LoCA is common in Sony, Minolta and Zeiss lenses, and it adds to the color of the out-of-focus areas, giving Minolta lenses their definite look. My old Carl Zeiss Jena Flektogon 35mm F2.4 had a tendency to bring out ultramarine-blue purple fringing, though (which is a bad thing, but can be reduced by choosing a darker aperture.)


F2.8: 30mm on APS-C gives the same angle of view as a 45mm lens on a full-frame camera. This is often considered 'normal' - neither wide nor tele. Depending on how you compose, you can make it seem wider or more telephoto.


F2.8: Real shallow.


F22: The obligatory shot. You know what this is.


Previously my experience with SAM lenses is that you might've been able to turn the focus ring when the body is set to MF, or focus is achieved and the focus screw disengages (body DMF - Direct Manual Focus). However, the instruction manual tells you not to! No wonder it does feel a bit rough.

No matter what, you need to set the AF/MF switch on the lens to MF, in order to turn the focus ring. You can still use AF/MF or DMF on the body to stop focusing - just don't turn the ring.

These warnings are written in the instruction manual for a reason. The manufacturer will not fix your lens for free under warranty if you have damaged it this way, because they have already warned you! Same reason why McDonalds Apple Pie boxes state: Caution: Contents May Be Hot. So if you burn your tongue, you can't sue McDonalds because they have already warned you.


F2.8: At F2.8, it is sharp, but not too sharp (like the Tamron 60mm F2.0 Macro DiII, also an APS-C 1:1 macro lens). This makes the lens good for walkaround purposes, where the kit lens would usually stop you from getting too close (exception being the Sigma 17-70mm F2.8-4.5 EX DC and Sigma 18-50mm F2.8 EX DC, with exceptional minimum focusing distances of 20cm).

It reminds me of my wonderful time with the Carl Zeiss Jena Flektogon 35mm F2.4 M42 lens - it could focus to 19cm close! So instead of zooming in (not possible on this prime lens) I would just get closer to the subject until I filled the frame with my subject. Great fun for walking in the park or the woods.

Shallow, narrow-minded camera-owning people will tell you that macro lenses must have long focal lengths. Obviously, their idea of macro is only insects (which are often, painfully boring because they tend to throw composition out of the window and go into "oh you guys are all about gear... hey look here's the same insect at 5 different magnifications all higher than 1:1. Oh yes, all 5 pictures are the same thing, same angle.")

These macro nuts look at cropping as an evil sin, but they do not hesitate to take a few pictures at different focus points and merge them together (focus stitching.)

Last I knew, shooting macro means shooting anything small. A macro lens can be used for close-ups. You can shoot flowers. Grass. Miniature figurines. Patterns and details you never knew existed.

If you shoot the same thing with a long lens, you will get a different perspective, and shallower depth of field, which does not help with macro - you often need to step down to F16-F32 to get something tiny in focus! You also need a lot of light from your flash. A shorter focal length is easier.

With a wide macro, you can get a shot like this:


17mm F8. You can get a flower and a building in the same shot!