Rubble and ruin on the side of the road

I find old ruins fascinating. The real treasure is discovering an abandoned home, off the beaten track, weathered and worn and open to the elements. I wonder who lived there and what they did? I wonder how it came to be abandoned? There were once people in such places, living lives and making memories, and all that remains is rubble and broken space.

What was once a life – 35mm Super Takumar 3.5 on Olympus OMD EM5 Mark II

A fascination with ruins isn’t uncommon. Walking through the rubble and detritus of buildings that were once important to someone is a way of connecting to the past and also reminding ourselves that time moves forward relentlessly. All things begin and end. And we must find joy in the experience of living whilst we can, if we can. Not all lives are equal, it’s worth remembering.

The old green room – 35mm Super Takumar on Olympus OMD EM5 Mark II.

Ruins remind us that everything changes, whatever we do. Next to the behemoth of time, we’re vastly small. In some way this is a comforting thought, as even wars and bad governments will fall to the ravages of time in a way that no person, however rich and powerful, can avert. No doubt, this is a terrifying thought to people who can’t bear the reality that their power and influence will fade, and their lives will be forgotten completely.

Nature’s reclamation

Ozymandias, one of my favourite Shelley poems, provides insight into the eventual ruination of once-powerful empires:

I met a traveller from an antique land,

Who said—“Two vast and trunkless legs of stone

Stand in the desert. . . . Near them, on the sand,

Half sunk a shattered visage lies, whose frown,

And wrinkled lip, and sneer of cold command,

Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,

The hand that mocked them, and the heart that fed;

And on the pedestal, these words appear:

My name is Ozymandias, King of Kings;

Look on my Works, ye Mighty, and despair!

Nothing beside remains. Round the decay

Of that colossal Wreck, boundless and bare

The lone and level sands stretch far away.”

Down the Port with the SMC Super Macro Takumar 50mm

I’ll admit that I’ve never been a photographic specialist. I’m not into landscapes or portraits or macros, as much as I’m just into photography in general. Having a niche is great, but it doesn’t really satisfy my curiosity much and I’d rather just make photos of whatever I feel like.

So, when I see a much-vaunted SMC Macro Takumar f4 50mm at a good price, I’m curious about its potential as more than just a macro lens. At this, it clearly excels, especially on the Olympus OMD EM5 Mark 2, where the Micro Four Thirds sensor uses the best and sharpest part of old 35mm lenses: the centre.

SMC Super Macro Takumar and all the glorious detail – down at Port Adelaide

The photo above is not at kiss the insect level of close-up, but you can see how much detail the glass picks up. It’s a fine pairing with the modern sensor in this camera. It’s probably best at these close distances, but I was also surprised at how optimised this version of the lens is at further distances. I believe it was tweaked in later versions to be better in this regard.

The marina at sunset

The big downside at longer distances, especially on a smaller camera, is handling. The Takumar has a long focus-throw. This makes it great for macro focussing, but a little painful at regular distances. Ergonomic in this context it is not, and more than once I found myself getting annoyed. Still, just look at the detail. Hardly the fault of the lens, as it was made specifically for sharp macro photos.

Shipping containers at sunset

What looked earlier to be a distinctly plain sunset turned out to be a wonderful one, full of colour and vibrance. The Takumar proves that it’s more than just a lens for macro photography, if you’re prepared for the ergonomics.