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 p.166 #5 · Leica M/X/T/S/Q/CL/SL Picture Thread | |
Joakim, very nice! I'm partial to the first and last images. I've heard very good things about the 90 Elmarit and look forward to more images, though I think I'm more partial to 75mm at the moment.
Same with your set Charles - first and last. Great feeling in both of them. The one of the horses by the water, IMO the WB is on the cool and magenta side for my taste, but it's just a nitpick.
Luka, interesting contrast of landscapes. There is a certain lunar quality to the Egypt scenes.
h00ligan wrote:
I didn't sharpen this as much as some others.. and I went just a touch too heavy on the clarity slider (dark halo lower left building)..
The clarity slider can really add some pop, but the danger is halos in areas with sharp transitions to areas with very little tonal gradation. A little trick that I figured out, and it's probably no secret, is to use the mask brush and set the clarity setting to the negative value you have selected for the overall image and brush it into the areas where the halo is obvious to cancel it out. In your image, try to keep the mask to just the sky and not on the building. Also, negative clarity is a great quick fix for portraits where you want to smooth skin tone. Just paint it over the face and erase areas of the mask where you want to retain sharpness, such as the eyes, lips, eyebrows, etc. The poor man's method to achieve some 75 Lux glow 
This cam, macbook air, firmware update.. should be a wicked travel combo.
I love the MBA but my GF loves it even more and won't give it back! I'm hoping if I hold out long enough the next revision will include USB 3, which for me would make it almost perfect.
singletrack wrote:
Ron, wanted to ask you if the 21mm Zeiss has the red edge problem even if you code it manually as a pre-asph lens? Is the softwaer fix easy to implement?
cheers
KL
Hi KL, I have the lens coded as the 21 non-ASPH and yes, there is still a slight red shift. In many scenes it will not be very noticeable, especially when there is a lot of detail and vibrant colour. It will become noticeable though with lighter monochromatic subjects such as snow, sand, concrete walls... So far I haven't bothered setting up a cornerfix profile for it and instead fix it in Lightroom. For the previous snow scenes I simply applied a desaturation mask to the snow and set a WB to get the rest of the snow close enough in colour quality to the desaturated areas. It might sound a bit complicated but was a pretty quick fix. I've also experimented with brushing in some light cyan or using a gradient of light cyan and it can work too when you can't desaturate an area. If I had many dozens of ZM 21 snow scenes, then I'd make the effort to set up a cornerfix profile as it would be a much faster and more effective solution, but so far my shot ratio has probably been 85% with the 35mm and the rest with the 21. As you can see from Luka's clean ZM 18 images, a proper cornerfix profile will be the best solution, or an LCC profile in C1 (Charles can explain this one).
I have also read it's somewhat camera dependent (Charles may chime in on this one too as he's probably the only one here with two M9s), so it could be possible that your M9 & ZM 21 combo might work better with one of the Leica lens codes than my combo. FWIW, I also get a slight red edge with the ZM 35 f/2.8 and have tried a few different Leica lens codes without much luck. Yet others, such as Dan (Thrice), have stated no red edge issues with his combo.
A random Munich street scene with the ZM 35 f/2.8 at Münchner Freiheit.
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