Both photos was with the 50 Lux and I immediately thought about Film Noir lightning when I saw the shadows on the wall in the first photo.
Joe, I like how my eyes are directly drawn to the man in the store thanks to the composition and thin dof.
Charles, nice portraits but the b & w is excellent with the timing and the expressions on the guys faces. Slow day at the office or...?
Ron, the composition in the first photo is interesting. The cut off fence, bench and tree fits together very well.
Joe, Ron, Luka and Joakim... Thanks a lot
Ron, nice shots! Yes, if the goal is for richer tones and colours, without affecting the colour balance or posterisation, then C1 is better.
Luka, excellent shots! Really enjoying the snow scenes So different from our weather! I am really liking your shots with the 75 Cron AA. My favourite it #1.
Hi Charles - glad it worked out - I would have looked like a chump otherwise! I forgot to mention, when creating the LCC image, I like to set the exposure compensation to +1 (when taking the picture). With the Phase One backs, that seemed to work better.
I have the 28mm Elmarit ASPH and it is surprising how much magenta tint it can have. It really shows on cloudy skies. What's more interesting (to me) is that my magenta is more in the upper left and nothing in the right. Yours has some in the right. Its really unlikely that Leica can engineer a 100% fix in the firmware because the variance is probably unique per user and their unique M9 and their unique lens.
Thanks John for your advice It is almost better in some respects to have no in camera correction, and just use the LCC correction alone, as the M9 and lens combo have a unique signature. I would imagine this would reduce the error in the final correction. Interesting thought!
charles.K wrote:
I have added one shot from the weekend taken with the 28 Elmarit with full encoding and set on auto detection. I took some shots with the 28 Elmarit at f2.8 with an expo like disc, into the sky away from the sun (thanks John Black ), and used this for the correction in Capture One Pro to quickly produce an LCC. This took 2 minutes.
The first shot below was standard PP in C1 Pro, no LCC. The is quite a mangenta/red edging. The shot was then processed in proPhotoRGB, TIFF 16 bit to CS5, and downsized 3000/2000/1024 in sRGB.
The second shot is identical to above but with LCC applied to the shot. This is quick and very accurate. Supposedly there is a discussion that using LCC are better, in that correction is done via ICC profiles, rather than DNG files.
The work flow is very fast and simple This is another option if Corner Fix is not preferred....Show more →
The second one is less distracting to me, no pink clouds!
All the shots below that post are great as well!
Nice beach shots Charles! I'm really jelaous of your climate!
I had some elaborate plans to go out shooting at first light today but I abandoned them as the light was no good (overcast). Instead I just took a few snapshots during lunch near my office.
A bit of Zeiss 3D:
The lens coding rubbed off again, so tomorrow I'm going to Dremel the crap out of the ZM18 mount and do some permanent coding grooves. I've had it with the ink. I can't understand it really - it has never rubbed off any of my other lenses. On the ZM18 it gets smeared right away and the lens gets interpreted as a 28 Elmarit instead of an 21 Emarit resulting in a strong color cast.
First, has anyone painted there red dot to a different color?
I know DAG sells black dots, but I'm wondering who's actually painted theres, and did it turn out nice?
If so, could someone post a higher res shot of the dot.. I'm planing on painting mine, want to see if it'll look nice or not. Not nice as in color choice, nice as in, how well the plastic takes paint, how the raised letters look after a few coats of paint etc..
Second, I've noticed that my 50/2 ZM works a hell of a lot better when you turn lens detection off... Very strange as I went through the list and found that one of the 50 crons worked well for the 50/2 ZM, then for some reason I decided just to turn off lens detection, and the lens started working a lot better, strange! It's btw not a test worthy better, but a real world kinda better.. Hard to explain, but I wonder if anyone else has found this to be the case.
A few shots from a fashion show that I actually wasn't working at.. Kinda just fun M9 snaps that I ended up liking. Had I been working these would have been a lot less fun and a lot more technically perfect. I think I should change up my style, to see how my clients react to blurry photos!
50/2 Planar ZM (sorry for quality I stole em from my FB account):
Luka, great shots! Great combo of the ZM 18 and 75 Cron
Joe, yes no wonder the Leica engineers are having a problem with the coding correction needed for the wide angle lenses, as the response is quite different for M9 and WA lens combinations. I found for my M9, this is an issue for FL's less than 50mm, and it only noticeable with bright backgrounds, and over exposure, about +1, which is just about all my beach scene shots. Personally I prefer the sensitive and unique rendering from the CCD sensor, rather than having it heavily filtered out and not having the rendering. Workflow now is very simple with C1 Pro, or Corner Fix. Obviously for portraits this is usually not an issue.
Adam, very nice shots!!! The ZM 50 Planar is a great lens Interesting thoughts about correction. I have found this before too, but I did not pay too much attention at the time. In reality you don't need any correction for lenses 50mm and longer as there will be no issues with diffraction and critical alignment.
Sorry, did I miss something... what does LCC stand for and how does one go about applying one to images? Thanks for posting those images in colour Charles, I like them a lot, I think more so in colour than b&w.
Adam, that's an interesting observation. While I haven't used cornerfix yet, I have noticed in various blog posts that it can appear to somewhat affect lens rendering. I wonder if the Leica profiles can also have such an effect on the ZM 50 f/2. It interests me as it's probably the next lens I'll add to the M9.
The first two were with the ZM 35 f/2.8, the last with the ZM 21 f/2.8.
. I like the conversion of #1 and #4 but I still like #4 better in color
I forgot to mention, when creating the LCC image, I like to set the exposure compensation to +1 (when taking the picture). With the Phase One backs, that seemed to work better.
