So I ordered the TVC-33 + BH-55 AND the TVC-23 + BH-40... Both with centre column attachment and with lvl base. I'll see which setup I like best, and send the other back.
I was initially going to go to RRS in person and play around with the gear and decide, but it's a bit to long of a drive from here (3h no traffic, so more like 4+ hours). You think if I drive there, play for two hours (time flies when I'm talking cameras) and drive back. That's like 10h hours. Which might be a bit tough of my wife who really doesn't have an interest in driving up to a tripod company's HQ.
All in all, I have a feeling it'll be the TVC-23 w/BH-55 and then I'll probably want to add the TQC-14 + BH-30 on a future trip out here.
I don't see much hand carry travel this year. Although who knows?!
Thank you very much Allen, Adam, RM, Ron. Very much appreciate your nice words.
Mitch, great PP on the Monochrom shots.
Ron, beautiful water tank shots. First is my preferred one.
Gary, no. 2 is just awesome!
Werner, this one is the best of the series so far.
rscheffler wrote:
Mitch - the tonality of your recent images is gorgeous. I've had very brief experience with the 50 Cron Rigid, and my impression of it was that while not anything special technically at wider apertures, it had a very pleasing, moderate tonality with rich colors and was sharp enough without being harsh. On the MM I would expect its moderate contrast results in file with rich mid tones that offer a lot of post processing leeway. It's a lens I'm keeping on my informal 'to get' list. I suppose waiting for one at a bargain price I can't resist. ...
Ron - Thanks for the kind words. I think you're essentially spot-on about the Dual Range Summicron/Rigid lenses ((Nos. 11318/11118), with the exception that the reduction in contrast is mainly "in the field" and only at f/2.0 — at least according to an old article, that used to be available online, by Seth Rosner in the LHSA magazine Viewfinder: it has, it seems, better resolution than all the Summicron-50s, except the latex ASPH version that I have not tried. In any case, I prefer how it renders to the latest version to the latest pre-ASPH version. The build quality is the best I have seen: simply amazing.
Speaking of the richness of tones, I've been wanting to say something about a new way of processing (both M-Monochrom and B&W from the M9 that I've adopted using Silver Efex (SEFEX) under Lightroom, based on the ideas of this short video clip:
The clip shows the method this photographer uses for XT-1 files and for producing a high-contrast look, but it can of course be tuned for the M-Monochrom or the M9 and for a lower contrast look. For example, I use the Tri-X preset rather than the TMax 400 used in the clip — and I reduce the Silver Efex grain setting somewhat. The basic idea of flattening the original file that you put into SEFEX is very good.
Generally, I use Silver Efex for any picture that I care about. SEFEX adds an element of "randomness" — maybe "contingency" is a better word for this — in the way processing and printing film does and, therefore, yields more interesting results. However, SEFEX can be a nightmare when you first start using it and search through the myriad of presets and sliders to get the combination that you want. The ideas in the above video provide a quick and effective method of using SEFEX. I have concluded that an important element in using SEFEX is the setting of the Fine and Midtone Structure.
Actually, before I bring a file into SEFEX, I try a few VSCO presents (mostly Tri-X 400-, Neopan 1600- or Neopan 400--), depending on the contrast range in the DNG file, to see the general look that I want when working with SEFEX. After the file has gone through SEFEX, I make some final adjustments, including any dodging or burning, in Lightroom.
adamdewilde wrote:
So I ordered the TVC-33 + BH-55 AND the TVC-23 + BH-40... Both with centre column attachment and with lvl base. I'll see which setup I like best, and send the other back.
I was initially going to go to RRS in person and play around with the gear and decide, but it's a bit to long of a drive from here (3h no traffic, so more like 4+ hours). You think if I drive there, play for two hours (time flies when I'm talking cameras) and drive back. That's like 10h hours. Which might be a bit tough of my wife who really doesn't have an interest in driving up to a tripod company's HQ.
All in all, I have a feeling it'll be the TVC-23 w/BH-55 and then I'll probably want to add the TQC-14 + BH-30 on a future trip out here.
I don't see much hand carry travel this year. Although who knows?!...Show more →
Hi Adam.
Definitely consider and try to handle the TVC-24L as an option. That extra section can be a life saver at times and you would not need the center column for most applications. I am always wary of center columns particularly if I have enough leg height available.
rscheffler wrote:
...I think it's worth trying a 21 or 24/25 for street. I guess it will depend on situations, but I particularly like 21 in very active scenarios when in the middle of the action. While there is greater risk of clutter and messy backgrounds, etc., sometimes you can get really interesting ranges of interaction within the scene. Only thing is then you're carrying more than one lens, so it adds a variable of which to use and there will likely be times when you're 'stuck' with the wrong one. Between 21 and 24, I'd probably go 21 because you can always crop. Not sure how much you like the idea of cropping. As Edward mentioned, I don't even bother with an add-on OVF anymore with 21mm. I guess you're super familiar with 35mm and probably can shoot without looking, if you have to. It's the same thing......Show more →
I like the 21mm focal length a lot and use the Elmarit-21 ASPH. The first thing I would say is that there should be no fear cropping — the framing with the external viewfinder (I use the Zeiss one) is very approximative. Also, I often shoot with the 21mm using what Moriyama Daido calls the "no finder" method. I tend to hold the camera at belt level and prefocus to about 1.5 metres and just point the camera at the subject: not to be sneaky, but useful in cases where you don't want the subject to look at the lens or where you don't want the affect the subject's look as he and she is on the street.
The following pictures are all taken with the Elmarit-21 ASPH on the M-Monochrom and are from the Alone in Bangkok project. If you don't have parallel lines going off into infinity, by "closing" the back of the frame, you don't get an obvious 21mm look. The first picture was taken in an instant, just as I was less than two meters from the motorcycle taxi the young woman just got on: there is no way I could have had enough time to take this picture if I had to bring the viewfinder up to my eye.
The second picture is an example of closing up the back plane of the frame, but the hands of the woman in the middle of the frame are exaggerated in size.
I love seeing the work you all produce, sorry I haven't been more active on here, haven't had much time to shoot over the past few weeks as I'm in the routine of school. I have some big plans this year though, and I am confident that I'll be able to create some pretty decent work
To those shooting a 21mm without an external VF, or EVF in my case, how do you assess the framing? I have the EVF for my M240 and when I can stop and compose a shot I don't mind using it, but I feel like for faster pace shooting I'd probably want to just get a simple OVF or something.
Mitch, have you had a chance to compare b&w conversions thru SEFEX from M9/M240? I've done several conversions from both camera's, but I'm not able at this time to tell the difference. I can tell the difference 'most of the time' though comparing MM to either camera. Just curious...
Love those pics of the tranny shop! Though, on some I wanted more dof b/c there was so much going on in the frame my eye wanted to see everything
AbramG wrote:
...To those shooting a 21mm without an external VF, or EVF in my case, how do you assess the framing? I have the EVF for my M240 and when I can stop and compose a shot I don't mind using it, but I feel like for faster pace shooting I'd probably want to just get a simple OVF or something.
Abram - I only do the "no finder shots" with the 21mm lens from a distance of 1-2 metres — after a little practice, trial and error, you can pretty much tell roughly what will be in the frame, and you can crop when you don't like the edges.
chrislee wrote:
Mitch, have you had a chance to compare b&w conversions thru SEFEX from M9/M240? I've done several conversions from both camera's, but I'm not able at this time to tell the difference. I can tell the difference 'most of the time' though comparing MM to either camera. Just curious...
Ron, I sold my 055, but I think that is great tripod for the money. It is a serious stuff. their new 190 looks great too. In store, I play with some Chinese brand tripod and feel they are very similar to Gitzo, but usually heavier with less load capability. The connector could be benefit from better quality IMO. My opinion is buy once buy right and never bothered again, hence I settled with Gitzo. I handled RRS, they are great looking tripod (and I really like their BH40 head) but IMO, there are no meaningful difference other than top plate material. However, once you add center columns, level base, hook, spike all accessories. the price and weight difference is huge. I could be wrong (Sorry Rich and Adam, We all know Adam never care the price ) If you are patient, 1544T or their explore series can be a bargain with US rebate. I bought my 0532 around $330 after rebate, similar price as Chinese brand.
AbramG wrote:
I love seeing the work you all produce, sorry I haven't been more active on here, haven't had much time to shoot over the past few weeks as I'm in the routine of school. I have some big plans this year though, and I am confident that I'll be able to create some pretty decent work
To those shooting a 21mm without an external VF, or EVF in my case, how do you assess the framing? I have the EVF for my M240 and when I can stop and compose a shot I don't mind using it, but I feel like for faster pace shooting I'd probably want to just get a simple OVF or something. ...Show more →
It is for frame accuracy not required type of work. I don't use OVF or EVF for my 21 biogon. But the work I have post not require accurate frame, like my kids around beach, as long as they are in frame
for those do require accurate composition, I have to re shoot 3~4 times. A PITA. For that type of work, M240 is calling.
...
) If you are patient, 1544T or their explore series can be a bargain with US rebate. I bought my 0532 around $330 after rebate, similar price as Chinese brand. 
