drdrew wrote:
well this is simply a horrible thread. i wish i had never opened it.
Time to take out a second mortgage.
As good as these images are, they don't do justice to them displayed at 100%, full frame. Maybe when we all are sporting 30" screens and ultra mega bandwidth modems we will get the full 'picture'. There is a subtle delicacy to the Leica images at full resolution. They don't bang you over the head and say look at me. They're more like the mythological sirens drawing you ever nearer (to your eventual bankruptcy, he, he.)
erichard wrote:
As good as these images are, they don't do justice to them displayed at 100%, full frame. Maybe when we all are sporting 30" screens and ultra mega bandwidth modems we will get the full 'picture'. There is a subtle delicacy to the Leica images at full resolution. They don't bang you over the head and say look at me. They're more like the mythological sirens drawing you ever nearer (to your eventual bankruptcy, he, he.)
They can certainly often stand up to closer scrutiny. A handheld shot with my 90/2 AA at 1/125s.
zombii wrote:
Those are really nice. Is that the ver 1 or 2 19mm? Also, are they cropped? What body?
Thanks, zombii. This is the second version on a D700 as always. The pictures are not cropped, for the St Veit cathedral picture I used Photoshop to correct the perspective (I forgot how to say this in English). I guess you ask this because of the vignetting problem. Yes, there is vignetting with the 19mm on a FF camera, sometimes more sometimes less visible, and I use the anti-vignetting program in Photoshop or Nikon Capture. If this doesn't help, I crop slightly
Thomas
P.S. Nice pictures with your 90mm Summicon ht77. I like the colours and bokeh, not to forget your good eye.
The greyscale level of my Cron 35 is what I like best about it. I did the same scene with an OM, CY and Sigma lens. None has the graduated greyscale levels of Cron 35. The transition from highlights to shadows is just so gradual.
ManWearPants wrote:
The greyscale level of my Cron 35 is what I like best about it. I did the same scene with an OM, CY and Sigma lens. None has the graduated greyscale levels of Cron 35. The transition from highlights to shadows is just so gradual.
Odd you should mention that, tonal gradation. I haven't really tested for that on digital bodies but that was some thing that really stood out when I directly compared an EF 24-70 L (a lens that I'm very fond of for a number of reasons) against an R 80 back in the film days (with Velvia). Aside from the greater sharpness when stopped down, the R 80 had beautifully smooth tonal gradation that made the EF look like it had the contrast turned up a few nothches. I shoot cars for a living and cars are all about tonal gradation (think sunset shots with the sky reflecting in the cars panels). I've never seen the difference in tonal gradation in digital however but I've never really tested for it either. Which body were you using when you compared lenses?
JohnJ wrote:
Odd you should mention that, tonal gradation. I haven't really tested for that on digital bodies but that was some thing that really stood out when I directly compared an EF 24-70 L (a lens that I'm very fond of for a number of reasons) against an R 80 back in the film days (with Velvia). Aside from the greater sharpness when stopped down, the R 80 had beautifully smooth tonal gradation that made the EF look like it had the contrast turned up a few nothches. I shoot cars for a living and cars are all about tonal gradation (think sunset shots with the sky reflecting in the cars panels). I've never seen the difference in tonal gradation in digital however but I've never really tested for it either. Which body were you using when you compared lenses?
ok. Tonal gradation in the proper term. The above are captured using 5DMkII. The first on tripod and slightly longer exposure. The second handheld. However the lenses used are of slightly different focal length.
ManWearPants wrote:
The greyscale level of my Cron 35 is what I like best about it. I did the same scene with an OM, CY and Sigma lens. None has the graduated greyscale levels of Cron 35. The transition from highlights to shadows is just so gradual.
