Halim, Author at bYx Optics

Apple iPhone 15 Pro Max

In 2011, my trusty companion was the iPhone 4, a sleek piece of technology that felt cutting-edge at the time. But in 2014, the call for a bigger screen, a superior camera, and a faster processor lured me towards the Samsung Galaxy Note 4. It was a choice made for practicality, and it served me well.

Fast forward to 2022, I was eyeing the iPhone 14, adding it to my ever-growing wish list. However, by the time the iPhone 15 graced the market, patience was no longer a virtue. What held me back, you ask? The “Action” mode. It irked me that it still recorded in 2.8K instead of 4K. Yet, the iPhone 15 was not one to be underestimated, continuously punching above its weight.

My alternative companion during this tech journey was the Huawei P20 Pro since 2018, chosen for its remarkable camera prowess. It was hailed as a photography marvel upon release. But when it came to video, it faltered, especially in low light conditions. The all-around sharpness felt like it belonged to another era – the distant past of 2018.

Now, in 2023, I’ve resolved to step up my mobile phone game. The photos I capture are often washed out when dealing with varying contrasts and sometimes unnaturally saturated. The iPhone has been making remarkable strides in computational photography, introducing features like macro shots, zoom, and a plethora of “lenses” that are as versatile for photography as they are for videography. Low-light performance has improved, although it’s still not quite on par with a full-frame camera.

My choice? The iPhone 15 Pro Max, adorned with 512GB of storage coming in the natural titanium hue. I figure that’s more than enough space for me, as I’ve learned the hard way not to keep precious photos exclusively on my phone. After my Huawei P20 Pro had a microphone issue, I sent it in for warranty service, naïvely thinking only the mic needed fixing. To my dismay, they replaced the whole board, and I lost most of my photos from August and September from 2018. So, these days, when I return home daily, my ritual involves transferring the day’s photos to my trusty hard drive, ensuring I never make the same mistake again.

In the words of my friend Zahidi, the iPhone 15 can be aptly described as a “compact yet potent fusion of a supercomputer and a top-tier camera, all wrapped up in one sleek package.”

One minor hiccup I’ve encountered in my tech journey is the file system. Android offers a user-friendly, navigable file system that lets you effortlessly copy or move files around. What I miss most is the ease of transferring my photos and any other files to the hard drive on my server via LAN. It’s not just about photos; it’s about the flexibility to manage and organise all types of files seamlessly.

After 3 weeks? I’ve really grown to adore it. While the photos are decent, it’s the videos that have truly won me over. They’re remarkably stable, and the colours are nothing short of stunning.

After 3 months? I’m pleased with my new phone and its camera capabilities. However, I’ve noticed that the photos and videos produced by the native app tend to be overly sharp. Fortunately, the BlackMagic app allows recording in Apple Log, enabling colour-grading. Similar to GoPro, this iPhone excels well in well-lit environments. Upon comparing videos from the native app and the BlackMagic app, the sharpened results are less appealing than those produced by the latter.

A low-light test in the Turkish Airlines cabin. Adjustments were applied to rectify the perspective and enhance shadow detail, with no alterations made to sharpening.
Dec-2023, 24mm 1/2 sec. f/1.8 ISO 4000

Unedited photograph captured mid-flight somewhere over Europe utilising the 5x telephoto lens.
Dec-2023, 120mm 1/830 sec. f/2.8 ISO 50

*A screenshot extracted from a video captured using the native iPhone app. Very sharp and detailed.*

*A screenshot extracted from a video captured using the BlackMagic app after LUT has been applied, but no sharpening has been added.*

CAMERA SPECIFICATIONS

	*Sensor Size*	*Pixel Size*	*Focal Length*	Remarks
Primary	48 MP 1/1.28″ 9.8⨉7. 3mm	1.22µm pixels Sony IMX-803	24mm f/1.78	Dual Pixel AF, OIS
Ultra-wide	13.4 MP 1/2.55″	1.4µm pixels Sony IMX-714	13mm f/2.2	120º FOV Dual Pixel AF, OIS
Tele	12.7 MP 1/2.55″ 4.5⨉3.4mm	1.12µm pixels	120mm f/2.8	Dual Pixel AF, 3D sensor-shift OIS
Front	12 MP 1/3.6″		23mm f/1.9	TrueDepth, OIS

After Almost 2 Months with only Two Lenses

After nearly two months, spanning from mid-August to the end of September, during which I exclusively carried the Sony FE 24mm F2.8 G and the Sony FE 40mm F2.5 G in my Peak Design Everyday Sling 10L V3, I’ve made some noteworthy observations. While I’ve previously highlighted the merits of the 24mm lens for travel photography, this post will delve deeper into my experiences with the 40mm lens.

Having only two lenses in my sling bag is truly convenient. Since both lenses sport compact profiles, I can cleverly utilize the origami flap to stack one lens at the bottom, with the camera attached to the other lens on top. This arrangement makes zipping up a breeze, eliminating the struggles I faced when carrying the camera with the Sony FE 35mm F1.4 GM attached.

PORTRAITS: In the first portrait photo below, where his hand is outstretched, the image retains a remarkably natural appearance, devoid of the pronounced distortion typically seen in head-versus-hand perspectives. In the second close-up shot, the absence of facial distortion is evident, particularly when compared to the effects of using a 20mm or 24mm lens, which can lead to facial distortion. When combined with the Sony α7 IV, this lens excels in capturing portraits with precision. It locks onto eye focus, ensuring sharpness precisely where it’s intended to be.

I made a slight crop to adjust the top and bottom frames. White balance and colour correction were achieved using Calibrite. This shot was taken indoors, illuminated with Aputure ML-F7 lighting on both sides and captured using the Sony α7 IV with the Sony FE 40mm F2.5 G lens wide open at f/2.5.

This is an uncropped close-up portrait. I reduced the vignette effect to only 50% in Lightroom. White balance and colour adjustments were made using Calibrite. The shot was taken indoors with Aputure ML-F7 lighting on both sides, using the Sony α7 IV paired with the Sony FE 40mm F2.5 G lens wide open at f/2.5.

STREET PHOTOGRAPHY: While not classified as a wide-angle lens, this optic showcases an impressive knack for capturing the essence of bustling city streets. What’s even more remarkable is its knack for preserving the authenticity of the scene, steering clear of any distortions along the periphery that might compromise the true-to-life perspective. When it comes to photographing people amidst the urban hustle and bustle, this lens truly shines, rendering subjects with enhanced clarity and focus, all without the necessity of getting uncomfortably close as seen the image below.

*Capturing the kaleidoscope of emotions with candid moments on the streets of Copenhagen.*

Capturing the City’s Rhythm: A Summer Afternoon Moment in Frederiksberg
Forum Metro Station, Frederiksberg.
Sony α7 IV | ISO 100 | f/2.5 | 1/1000

Late Summer Afternoon at Nyhavn, Copenhagen
Sony α7 IV | ISO 100 | f/2.5 | 1/6400

DISTORTION & VIGNETTING. While there is a discernible distortion present, the lens also imparts a striking vignette effect, as evident in the two images above. Through lens correction, the vignetting has been dialled back to a 50% intensity, resulting in a more visually pleasing outcome. However, it’s worth noting that for environmental photographs, excessive vignetting, as demonstrated in the Nyhavn image, can sometimes detract from the overall appeal.

APERTURE. This lens boasts a generous aperture range. Typically, with the Sony FE 55mm F1.8, I opt for f/2.8 when capturing portraits. However, the 40mm lens, which opens up at f/2.5, proves to be more than adequate for achieving impressive results.

ENVIRONMENTAL & SURROUNDING: When it comes to environmental photography, this lens may present some challenges, particularly in capturing expansive surroundings. Its focal length may not lend itself easily to encompassing the full breadth of a scene.

Conclusion

The 24mm lens is definitely going to stay. But regrettably, the 40mm focal length doesn’t quite steal my heart, and I find myself gravitating towards the 55mm F1.8 instead, thanks to its more captivating bokeh. All things considered, this 40mm lens falls short of the razor-sharp quality delivered by the likes of the Sony FE 35mm F1.4 GM, Sony FE 24-70mm F2.8 GM, or even the Sony FE 55mm F1.8 ZA.

Sony FE 40mm F2.5 G

Can it replace 35mm and 55mm focal lengths and serve as my second everyday lens?

Inspiration

I found inspiration from Mitch Lally’s YouTube video, where he paired the Sony ZV-E1 with a Samyang 35mm F2.8 lens for his everyday carry camera setup. Initially, I was about to acquire the Sony ZV-E1, but after contemplating for 10 hours, I made the decision to upgrade to the Sony α7 IV. Just a month before, I had purchased the Sony FE 24mm F2.8 G lens and was truly impressed by its compact size and sleek profile.

I researched the Samyang 35mm F2.8, known for its super-compact design. However, I discovered some significant drawbacks, including the absence of weather sealing, noisy autofocus, and a susceptibility to dust. Furthermore, I already had a 35mm focal length lens in my collection.

Subsequently, I learned about the Sony FE 40mm F2.5 G, which was available for 2,500 kr. In the end, though, I opted to purchase only the 24mm F2.8 G lens. This decision is one that I might come to regret in the future.

35mm Focal Length

I currently own the Sony FE 35mm F1.4 GM lens, and it has become one of my absolute favourites. Previously, I had the Sony FE 35mm F1.8 lens. Together with my Sony FE 55mm F1.8 lens, these two are my constant companions, finding their place in my bag, including my school bag. I’ve used them extensively, capturing photos of my classmates after lectures and shooting outdoor portraits. The versatility of the 35mm focal length is truly remarkable.

I’ve employed this lens during various occasions, including my department’s Christmas Lunch and the Annual Spring Gala. However, it does have its drawbacks; it feels a bit weighty in my hand, and I often switch to the 55mm lens when shooting portraits. With the recent addition of the 24mm lens to my collection, the 35mm has seen less time on my camera. Nevertheless, for gatherings where wide-angle or landscape shots aren’t a priority, I still find it convenient to bring along my 35mm lens, especially at parties like these:

RUC IMFUFA Christmas Lunch 2022
Sony ɑ7R III + Sony FE 35mm F1.8

RUC Spring Gala 2023
Sony ɑ7R III + Sony FE 35mm F1.4 GM

RUC Open House 2023
Sony ɑ7R III + Sony FE 35mm F1.4 GM

My System

Returning to Mitch Lally’s story, I wholeheartedly concur that an ultra-compact lens can significantly enhance the photography experience. Firstly, for someone like me, who tends to be introverted, having a camera with a smaller profile makes me less self-conspicuous when taking photos. Secondly, the reduced weight of the setup, whether held in my hand or slung across my body, is much appreciated. And, perhaps most importantly, it’s easy to retrieve the camera from and stow it back into my camera bag swiftly. Often, the bulkiness of a backpack or a camera fitted with a large, heavy lens like the Sony FE 24-70mm F2.8 GM can deter me from spontaneously capturing moments.

I chanced upon a secondhand copy of the lens on the DBA (a secondary marketplace) and engaged in some negotiations with the seller to get a price that matched what MPB, a photography equipment reseller, would typically offer. To Michael, if you are reading this, I apologise for the haggling—it was a mix of lingering regret for not acquiring the lens at a lower price when the opportunity arose and my anticipation of MPB’s clearance sales. Moreover, I was in no particular hurry, and I also harboured concerns that if I didn’t fancy the lens, I might incur some losses when reselling it.

What were my initial thoughts upon receiving the lens? Well, it was nothing short of petite! Incredibly compact, and it had this somewhat unconventional appearance at the end.

Ofelia Plads, Copenhagen.
Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)

Street of Copenhagen.
Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)

Copenhagen Canal.
Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)

“The road leading to Copenhagen”
Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)

Fog blanketing this countryside town.
Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)

Cafe by Roskilde Harbour
Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)

Cropped close-up of a flower showing nice bokeh all around.
Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)

Upon reviewing my photos, I have noticed the presence of vignetting effects, which, interestingly, impart a pleasing aesthetic to them.

As part of my ongoing process to streamline my camera bag, especially now that I’ve transitioned to a sling bag from a backpack (the Peak Design Everyday Sling 10L V3), I aim to keep it as lightweight as possible—because sometimes, less is more! With this in mind, I plan to replace my Sony FE 35mm F1.4 GM and Sony FE 55mm F1.8 lenses with the Sony FE 40mm F2.5 G during the months of August and September.

The question that looms is whether this pairing of only two lenses, the 24mm and 40mm, will suffice for my everyday photography needs. This is especially relevant since I frequently use my camera to document my daily life and often engage in portrait photography. Stay tuned for an update in October; I’ll share my experiences and insights then!

Eriksvej, Roskilde
August 2023

Sony FE 24mm F2.8 G

To kick things off: this lens is my absolute favourite for both daily use and travel.

I acquired this lens on June 22, 2023, and my affection for it has only grown since it became a permanent fixture on my camera. Its compact and lightweight design complements my Sony α7R III perfectly. Thanks to its diminutive size, it swiftly emerges from my Peak Design Everyday Sling 6L when needed, and it seamlessly slips back in just as easily.

While I do occasionally swap it out for my Sony FE 55mm F1.8, most of the time, it’s the trusty 24mm lens that graces my camera.

One of the initial photos I captured after mounting the lens on my Sony α7R III features the streets of Copenhagen on a summer morning at 8:09 am. The shot was taken at an aperture of f/2.8 and later edited in Lightroom.

summer 2023 marked my planned week-long trip to Ibiza, and throughout the journey, this wide lens remained my absolute favorite. Reiterating what I mentioned in the previous paragraph, its compact profile and lightweight design were truly invaluable. This lens’s discreet form factor meant that it didn’t protrude conspicuously from my camera, allowing me to blend in effortlessly without appearing like a tourist carrying a bulky, professional-looking camera with long, oversized lenses. It proved to be the perfect companion whether I was dining at a restaurant, lounging on the beach, or simply strolling through the streets.

A full-body portrait set against the backdrop of a vibrant Ibiza street. The lens’s wide perspective allowed me to encompass the surroundings while maintaining a sharp focus on the primary subject. Shot at an aperture of f/2.8 and post-processed using Lightroom.

There’s a minor aspect I’ve noticed about this focal length that doesn’t quite align with my preferences. At 24mm, the field of view is a bit too wide when shooting up-close subjects. While this lens proves versatile for capturing food photographs during vacations, under the right conditions, I find a 35mm lens to be more preferable. This is particularly true for half-body portraits, as the 24mm tends to exaggerate objects in the foreground due to its perspective distortion.

Nevertheless, when I combine this lens with the Sony α7 IV and employ the SteadyShot stabilization feature set to Active mode, which introduces a crop factor of approximately 1.14, it effectively transforms into an almost 28mm equivalent. This offers a balance between width and tightness that I find quite pleasing. The video below was captured handheld from a moving truck (albeit at a slow pace) using Active SteadyShot, and in my opinion, the outcome was well worth preserving as a cherished memory!

This lens not only boasts a compact design and excellent ergonomics but also features a physical aperture ring on its body. Personally, I have a strong affinity for this ring because it enables me to swiftly and precisely set the desired aperture value, a conscious choice I prefer over using the scrolling wheel on the camera body.

During non-holiday periods and when I have leisurely moments to spare, the trusty 24mm lens remains my go-to choice for attaching to the camera. However, when it comes to portrait photography, I still favor the 55mm. For capturing general subjects such as flowers or documenting objects, my preference continues to lean towards the 35mm lens. This is because, in certain scenarios, I do find the 24mm to be a tad too wide for my liking.

This selfie was captured from approximately one meter away in a confined office space. In this particular scenario, the wide 24mm lens proved to be exceptionally handy, allowing me to encompass as much of the room as possible. With an aperture set at F2.8, the bokeh and subject-background separation achieved were just about right.

In conclusion, this lens is a superb all-around choice thanks to its compact size and lightweight build, making it ideal for discreet and versatile photography. It excels in confined spaces, such as when dining at a restaurant or during train journeys. While it can perform adequately in the limited space of an airplane seat, I would have favored a 20mm lens in that scenario. When traveling for holidays, I lean towards keeping this lens mounted on my camera due to its adaptability across various environments, be it for landscape, street, or food photography.

Eriksvej, Roskilde.

TimeLapse of a Nocturnal Bloom

In 2019, I planted this night-blooming cereus into two pots. This is the third time this plant flowered in my apartment. It is the second time this year but the first time for the second pot. When flowering, this plant, Epiphyllum oxypetalum takes around 3 to 4 weeks to grow from a tiny bud to around 20cm in length. As the name suggests, it blossoms at night. As quickly as everything starts, it ends very quickly as well.

*The plant in this second pot blossomed for the first time after it has been planted four years ago.*

I set two cameras to capture the entire process, Sony ZV-1 and GoPro Hero 11. On the former, I used interval shooting (10-second interval) and on the latter, I used time-lapse function (5-second interval).

Learning from the past, this time, I set the white balance manually using a grey card. By doing so, I don’t have to edit and correct the white balance and colour for the entire JPEG file.

I used two sets of Neewer Bi-colour 660 LEDs that produce 3,300 lux on both sides, set at different heights. I also used a black background to accentuate the flower. The shooting “started” an hour early, at around 8 pm to give me time and “ended” at 6 am the next morning.

*Sony ZV-1 and GoPro Hero 11 were hooked to the power source. Sony ɑ7 IV was used to take still photos.*

Sony ZV-1 produces 3,000 JPEG files. Using Adobe Premiere Pro, I merged these files to produce a 2 minutes clip which was exported at a resolution of 5472×3648 (5.4K). After that, I edited the exported clip in Final Cut Pro by speeding the time to 200%, slicing some parts from the beginning and removing parts from the ending, adding music and exporting it into a 4K video.

Night-blooming cereus is also known as “Queen of the Night” and in Malaysia, it is known as “bakawali”.

Eriksvej, Roskilde
8 August 2023