Someone also said, that he found these straps in embeded JPG, but DNG were OK in LR.
Anyway, I would try few more cards, format them in camera.
Checking other reader is also good option.
Joakim, I can only second the opinions already stated - it looks like an SD problem. Now if it's the cards themselves or if it is the M9's card reader/writer is a different question...
Ron, great set! What an amazing place! The first three shots are my favorites.
My 75 Cron adventures took another turn today. I had been thinking that I was perhaps approaching the problem the wrong way. Instead of being displeased of the lack of an interesting rendering style, I should embrace the neutrality of the lens. After all, it's not good to become too dependant on a lens to make the picture. So I thought that it might be a good tool to keep me on the straight and narrow - i.e. force me to rely on composition, content, light etc.
That sounded good in theory so I to try it in practice I tool a walk to my standard construction site. Well, to make a long story short: it failed. First I did not restrict myself to the types of shots where rendering would not have any siginifcant impact. Second the 75 Cron failed to deliver..uh..by delivering a quite pleasant rendering. Relatively neutral, yes, but not sterile and boring. Ugh. I don't understand this lens.
Carsten, no, unfortunately that doesn't work. I have not seen anything that they have in common when it comes to rendering. On the contrary, I'd rate them to be as different as two lenses can be. This is not just a subjective evaluation - the MTF charts are quite different.
It's not just that the 50 Lux has tons more field curvature but look how the sagittal and tangential lines are phase shifted towards the edges - it's what creates that slightly swirly bokeh. You also get a distinct vignetting with the Lux (almost zero with the Cron) and finally the sharpness-to-blur transitions are fundamentally different with the Cron having a much sharper transition. The 50 Lux is more mellow with some SA softening up the transition.
I would definitely not recommend the 75 Cron to somebody hoping for a slightly longer 50 Lux ASPH.
In what way? Apart from some obvious design similarities, I honestly can't think of a single thing I've found that they have in common - ranging from micro contrast, colors, bokeh to field curvature and vignetting..
Here's a shot I took this morning, 18mm ZM Distagon. The disparity between the colour of the clouds and the colour of the reflected clouds is probably colour shifts caused by stacking ND grads. Oh well, I like it.
I was devoured by mosquitoes shooting this I also duplicated the shot with 4x5 on Kodak Ektar, so we'll see how that comes out.
I don't know Luka... I enjoyed your latest set with the 75 Cron. I don't feel the images are disappointing, but then, I'm certainly looking at them with different expectations.
Thanks Carsten and Luka - here are some more. BTW, this place is an easy one hour drive (with reasonable traffic) north of downtown Chicago, if anyone is ever in the area. From what I can tell, you need a car to get to this place.
Thanks Ron, but I think you misunderstood me. I'm not disappointed by the rendering in the last set, which was surprising. My conclusion was just that I don't quite understand that lens. I'm starting to suspect that it has something to do with how I intuitively use a 75mm - i.e subject framing and subsequently distance to the focus plane. One notable difference in the last set was that most shots were at relatively close distances. My hunch is that the issue is more relevant at larger distances.
Take a look at this shot for instance:
I think it illustrates the problem well. It's simply to consistent across the frame. A 50 Lux, not to mention a 50 Noctilux would have produced heavy vignetting and circular motions in OOF areas at the edges. In addition to that you would have had noticeable field curvature around 2/3 of the frame - all serving to draw in the viewer towards the center of the frame. The 75 Cron instead serves an image that is very consistent and nothing of interest going on by the edges. It sort of reminds me of the look you get when using a lens on a crop camera - you skip all the interesting aberrations that are at the edges/corners. Although it is in principle optically more desirable it produces a much more flat image.
Close up it's not so bad. Here's the 50 Lux vs 75 Cron with the framing kept roughly the same:
Ron, great set and PP'ing! First three are my favourites, but I do like the rendering from the ZM 50 best!
Luka, excellent set! IMO I do see the similarity to the 50 Lux in your shots, but I fully appreciate the 75 Cron may not sync with the way you see. I see with longer FL's, and see everything more with the style of Mandler designs, and is probably why I like the 75 Lux so much.
Dan, very nice shot! Looking forward to your 4x5 shot. Fully appreciate the issue of mozzies, particularly here is Queensland
Thanks Charles I think I'll spend some time investigating 50 vs 75 vs 90 in the next few days. I think that maybe I have pinpointed the thing that has been bothering me with the 75 and perhaps that understanding can lead me to use in a way where I get results that I like.
I know you all must be tired of my 75mm affairs, but I'm thinking out loud and posting samples as I think it might be of some use to other people that consider buying that particular lens - even if they don't agree with my conclusions.
denoir wrote:
I know you all must be tired of my 75mm affairs
I think discussions and smaples in this thread are very very helpful.
Luka - correct me if am wrong - I see you search for two aspects:
- accent on a subject, rest blurred, vignetted, hidden, something like that
- sharp frame, eg. in landscape
What I read in Adam Marelli review - he found 75 Cron giving him accent on subject AND context. Probably something IN BETWEEN what you need.
Is that right?
I made some pictures recently with 75mm Summarit, borrowed from friend. Result was exactly "in the middle" - something in focus, plus blurred BUT recogniseable background.
Luka, IMO this forum is excellent, in the respect we can our thoughts and frustrations! Yes, differing perspectives but so much has been contributed here. I still feel you should try some of the other 75's as it may fill your niche, if not keep with the 90 Cron AA What I do see with the 75 Cron, it a great lens for portraits and street shots, from my limited testing of the lens.
Ron, amazing set with the ZM 50 Planar! Great angles catching the mechanical decay
Jerry: I've tried the 75 Summarit. It was actually the lens I intended to buy. I was however turned off by the plastic feeling focusing ring.
Charles, the thing is that I really need a 75mm as much as a horse needs a hat rack. I'm pretty content with 50->90 and don't really need anything in between. I'm just trying to figure out that blasted lens as I've already got it.
Very sound advice, I'm sure. I'm just too stubborn to admit defeat quite yet - especially since it does on occasion (like today) produce results that I like. I feel that I need to figure it out before I let it go.
thrice wrote:
I would sell it now and make a buck off the saps who think Leica will never catch up with demand.
Leica hasn't managed to keep up with demand since the M9 was released. That's a long time to keep people on waiting lists and is one of the more infuriating parts of Leica ownership. I don't see any end in sight when it comes to waiting lists, as they seem to be intent on announcing new lenses and cameras without the corresponding increase in manufacturing capacity.
What I really don't understand is their reputation for great build quality, which does not seem to extend to reliable cameras or properly calibrated lenses. BUT, both the lenses and cameras can take outstanding images when they're all working correctly, so I guess we just deal with it. Hard pill to swallow with their prices though.
I'm also starting to fall in love with Sigma cameras, which is another company that seems to go their own way and create quirky, but interesting cameras.
I also duplicated the shot with 4x5 on Kodak Ektar, so we'll see how that comes out.
