uhoh7
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Mitch Alland wrote:
Charlie - That is certainly true, always, in your masterful use of M9 colors.
The impression I have of the M10 is that operationally it’s night and day from the M9, and feels like the Leica M that we all wanted when the M8 was released. From a friend that has had one for a week, I get the impression that with a few adjustments in Lightroom one can get pretty close to the M9 look — though he thinks that there is still something inexplicably special about that look. He feels that, compared to the M9, the M10 sensor is almost too good, in that it can have something of a homogenizing effect. The M9 was a challenge, especially in low light, but sometimes challenges pay off in better images, like using film. Probably with the M10 one may have to "rough up" the image somewhat. The M10 B&W conversions look very good, though it seems that the MM is better, but again, depending on post-processing, it could really be splitting hairs.
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Alone in Bangkok essay on BURN Magazine...Show more →
I'm going to get a big head, Mitch to hear that coming from you 
Derek will keep me in line 
You comments and report from your friend is so interesting. They are plagiarizing my baby 
Colors are tricky, and sometimes the light is right to catch a nice flavor. A tan is quite problematic. But I try to let the camera do it's best, and then see what small touches help...but it's always dicey
L1056957-2 by unoh7, on Flickr
L1056959-2 by unoh7, on Flickr
L1056961-3 by unoh7, on Flickr
Walter Mandler was a real genius, as I only gradually realize. There is his "baby", the somewhat unsung Tele-Elmarit 90/2.8 "Thin", which I spent untold hours trying to replace. Jeez, look at that little thing at F/2.8. What was I thinking?
One secret, which I learned accidentally, like most of my discoveries, is it LOVES this hood:
Cuties by unoh7, on Flickr
I bought that to go on a 135/4. The famous Tele-Elmar. Thank god KEH kept sending me ones with problems. So heavy, yikes. I got the APO, which is lighter. Anyway I'd bought this pricey old, but perfect, metal hood, which goes on a bunch of lenses. 12575. Rockwell never noticed but the TE flares at dawn WO even when it's still in the closet
That hood reverses perfectly, and it's tough too. I meant to sell both the lens and the hood years ago. Now I love them
Anyway, my point: the reds. Obviously they studied the M9 reds, which can be pretty hot, for M10. In LR with M9 raw it's better to bring blacks down from a little overexposure, than to boost whites, because LR sends reds right over the edge at +5. And M10 reds are often REALLY close to M9. But M9 is sort of selective in it's saturation. M10 less so.
CMOS = Colors Mucho Over Saturated
CCD = Colors Clear Duh
Of course, it's not quite so simple, since Karbe's lenses have brighter richer colors than Mandlers. Note the shot of the A7 w/ TE. That's 50 cron v4 tabbed, 80's on M9. So faithful there. Oranges and Yellows, the M9 pretty much nails, especially on those Mandler lenses. Reds and Pinks....watch out. Portrait series above, shot today, is M9 saturation. Nothing added. Blacks down a bit and no boost in whites. TE is low contrast WO. Still red is Hot, not WB, but saturation. Reds and Pinks combust when you press the shutter.
20 years form now that camera will be more famous, you watch. Let's see if M10 can wax so lyric. In music, it's often the spaces between the notes which mark genius. M10 does have more notes.....
But pretty soon Edward will show us the M10 as it should be 
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Yup, Derek is right here 
