and to the right: L1019061-2 by unoh7, 28cron f/8
Headwaters of the East Fork of the Salmon river and the split between the Boulder and White Cloud mountain ranges.
Just below the ridge on the way down: L1019058 by unoh7, 28cron f/6.7
Next time I'll get the flowers with sun on them at f/11
Narrow slices of fast moving sunlight shot across the crags but for large areas the sun was often behind the clouds. Most of the shots above were bright shade, sometimes with speckles of sun-lit features. I shoot - 2/3 because I loose my highlights otherwise in shots like these. These jpgs show some blown bits, but with careful editing I can get them back. What amazes me is how these Leica Raws allowed me to really push the shadows in post with very modest noise consequences in LR
My Sony files don't take such adjustment so well. Maybe that's LR. But the M9 files are huge, 36mp, while the sony raws are alot smaller. Must be compression?
rscheffler wrote:
Keep in mind that Charlie shoots with the M9. It will behave slightly differently from the M240, which can still exhibit some color shifts with certain wide angle lenses. But coding it as the 21/2.8 11134 will probably work well on the M240 too. It seems that particular code works really well for most problematic UWA non-Leica lenses.
As for pricing... if the cameras are sitting on dealers' shelves, that means they've bought them at the current net price and it may be possible to negotiate the existing deals at a slightly later time. Of course, no guarantees. The price jump might also be calculated to close the gap with the M-P and play on the thinking that another $700, or 10%, isn't quite the deal breaker that $1000 or ~15% is. It could affect short term used prices, but longterm, it won't be a significant factor. I suspect used M240s at fair market valuations will hold fairly steady until the next camera is announced, based on how the M9 trended on the used market.
Charlie - thanks for digging that up! These too really pop with great contrast and color! Love the location.
Adam - thanks for the kind words! I haven't tried the 75APO so can't comment on it. What I've noticed over the span of ~6 modern Leica lenses in my possession, plus a few others I've tried, is that there doesn't seem to be an obvious effort at tight consistency across the system regarding color variations and wide open, or wider aperture, character. That said, I do think the Lux lenses have similar wide open look, with slight mellowing due to SA. I'm quite curious to see how the 28 Lux performs.
I also see slight color variation with my Canon collection. For example, the 70-200/4 IS tends to be magenta tint biased.
With the Zeiss-Opton Sonnar 50/1.5 while I was out testing the 90AA:
Yep, colours are way off.. But not just that. I find that with say the Nikon system. Most of the 1.4G lenses can be made to look similar. Not exactly, but the mood seems the same. I can get similar results with Canon, to the point where I have to check my EXIF or I won't know if I shot it with X lens or Y lens. Whereas with my Leica, I can immediately tell two images were shot with different lenses.
I think in a way that's good. As each lens is so "unique" that you could have 3 different 50mm lenses and be able to tell them apart easily (as I, and a lot of other people on here do). The problem is, nothing pairs up well. And if you're the type of person who's looking for flow in something like a wedding day. But needs to use 2-3 lenses to get through the day.. It's gonna be difficult/impossible for you to get consistency.
Zeiss I find even has a more consistent look with their M lineup. And Leica's S lineup is also more consistent. But I can't seem to find M lenses that follow this pattern of consistency. I think the only lens I've mixed up once or twice was the 35FLE and 50APO.
Anyone find this to be true also? Or am I just to picky? What lenses do you all think have a very similar "signature" keeping in mind the FLs are different.
I guess my best example for this.. I find the 21SEM, and 28Elmarit-ASPH to be very similar. And stopped down the 35FLE acts like the two wides, which sort acts like the 50APO. But I've found nothing that matches say the 24lux in 3D pop.. Or the 50lux-asph or 75APO in rendering (but both lenses aren't similar enough to say they're similar).
Anyway, just some thoughts after two weddings shot with the M-system.. Weeding/editing now, and going crazy doing it
pingflood - love it!! PS - sounds like a real interesting name for the city you live in.....
Charlie - very scenic images.
Edward - looks to be a great day at the market!
Yes, the color is pretty spectacular at base ISO, and 320 is still good but for 640 and 1250 it's definitely B&W for me (and the output in B&W especially without IR filter looks wonderful). Thanks!
adamdewilde wrote:
Yep, colours are way off.. But not just that. I find that with say the Nikon system. Most of the 1.4G lenses can be made to look similar. Not exactly, but the mood seems the same. I can get similar results with Canon, to the point where I have to check my EXIF or I won't know if I shot it with X lens or Y lens. Whereas with my Leica, I can immediately tell two images were shot with different lenses.
I think in a way that's good. As each lens is so "unique" that you could have 3 different 50mm lenses and be able to tell them apart easily (as I, and a lot of other people on here do). The problem is, nothing pairs up well. And if you're the type of person who's looking for flow in something like a wedding day. But needs to use 2-3 lenses to get through the day.. It's gonna be difficult/impossible for you to get consistency.
Zeiss I find even has a more consistent look with their M lineup. And Leica's S lineup is also more consistent. But I can't seem to find M lenses that follow this pattern of consistency. I think the only lens I've mixed up once or twice was the 35FLE and 50APO.
Anyone find this to be true also? Or am I just to picky? What lenses do you all think have a very similar "signature" keeping in mind the FLs are different.
I guess my best example for this.. I find the 21SEM, and 28Elmarit-ASPH to be very similar. And stopped down the 35FLE acts like the two wides, which sort acts like the 50APO. But I've found nothing that matches say the 24lux in 3D pop.. Or the 50lux-asph or 75APO in rendering (but both lenses aren't similar enough to say they're similar).
Anyway, just some thoughts after two weddings shot with the M-system.. Weeding/editing now, and going crazy doing it ...Show more →
I was thinking the same thing working with event results, all M or LTM glass, yet shot with both A7 and M9.
But even the same lens will give a wildly different look at f/8 than f/2, and distances factor in as well. Backlit, frontlit, time of day. A lens like the 28 cron gives varied looks.
But despite the inconsistencies my clients were wild about the results, and found the variety a strength.
The 28 cron, zm35/2 and 50 cron are "sort" of similar. Maybe the 135 apo is in that camp too.
detail rendering with zm 18 and SEM 21 are very similar, but color palette just a bit warmer with the SEM, which is sort of like the 90 summarit. The CV 75 and 90, which take no prisoners really, well the 75 is zeiss cool, but the 90 a tad warmer.
But the M9 sensor stamps an imprimatur which is somewhat uniting----throw the Sony into the mix, well you have many looks.
Not good if you are shooting Butch Cassidy and the Sundance Kid, but I'm not sure it's so terrible in event work if the shots are interesting.
This is certainly a reason a D810 makes sense as a wedding rig. I shot so many weddings with a PD-170 that I don't lust after work like that, anymore. But I admire it.
Editing can overcome personality quirks for sure, since we can recognize shooters like Derek and Michael even across platforms, let alone with different glass.
I was thinking the same thing working with event results, all M or LTM glass, yet shot with both A7 and M9.
But even the same lens will give a wildly different look at f/8 than f/2, and distances factor in as well. Backlit, frontlit, time of day. A lens like the 28 cron gives varied looks.
But despite the inconsistencies my clients were wild about the results, and found the variety a strength.
The 28 cron, zm35/2 and 50 cron are "sort" of similar. Maybe the 135 apo is in that camp too.
detail rendering with zm 18 and SEM 21 are very similar, but color palette just a bit warmer with the SEM, which is sort of like the 90 summarit. The CV 75 and 90, which take no prisoners really, well the 75 is zeiss cool, but the 90 a tad warmer.
But the M9 sensor stamps an imprimatur which is somewhat uniting----throw the Sony into the mix, well you have many looks.
Not good if you are shooting Butch Cassidy and the Sundance Kid, but I'm not sure it's so terrible in event work if the shots are interesting.
This is certainly a reason a D810 makes sense as a wedding rig. I shot so many weddings with a PD-170 that I don't lust after work like that, anymore. But I admire it.
Editing can overcome personality quirks for sure, since we can recognize shooters like Derek and Michael even across platforms, let alone with different glass. ...Show more →
Well the problem for me is 99% of the time I shoot wide open, as my clients like that shallow DOF look. Aside from say group shots or the odd time when I need a bit more DOF for those candid moments. So really you cannot use stop down technique to even out lens characteristics. So I'm really stuck with trying to match wide open performance. And honestly I need a 35mm as my main lens and either 75/90 as my second lens (75APO is preferred). I think at the end of the day, it's probably just a lost battle trying to match Leica lenses.
I can go with the 1Dx, D4s etc etc.. Which I do use, but I do like the extra sparkle my images have from using Leica gear. The M9s CCD sensor does even out a lot of things that the M240 makes visible.
That PD-170 seems like killer on the shoulder BTW, wouldn't wanna use that thing for wedding work.
GREAT images on this page ... will come back and comment on them in a bit. I will also read the technical stuff and probably not add anything to it because I know nothing.
So the baby came today. She is 2 1/2 lbs and 12 weeks old. No name as of yet... expect LOTS of images to come soon.
adamdewilde wrote:
Anyway, just some thoughts after two weddings shot with the M-system.. Weeding/editing now, and going crazy doing it
Well Adam, I feel your pain! I have been there, and still live there to some degree. Ages ago I was mixing Minolta, Tokina, Zeiss, Sigma, all in one wedding day.. Agh. The differences were huge at times.
So then I simplified and now it's 3 Zeiss and one Sony (Minolta design). So there is still a difference, but it's manageable. Not perfect, but you know, I'm not sure what that is. They do look different, but I just try to balance it as best I can by eye and work from there, it's okay. What I mean is I basically wouldn't get too hung up on it, if you have a process that you love with your leicas and lenses you love using and it "works" for what you want to do, what does some tiny difference in rendering matter? It's too nuanced for me. And of course, for the client, they are going to care far more about content than how different lenses render wide open
Hmmm what do you think of a m240 for £3500... I was hoping to keep it at around £3300 based on what I'd seen in eBay. One of those where you stick like a stubborn mule to the prices you've seen all the time wondering whether it's worth the wait... *seeks guidance from elders*
ricardovaste wrote:
Hmmm what do you think of a m240 for £3500... I was hoping to keep it at around £3300 based on what I'd seen in eBay. One of those where you stick like a stubborn mule to the prices you've seen all the time wondering whether it's worth the wait... *seeks guidance from elders*
Richard, have you ever think of M9 instead of M240? M9 2nd hand price seems very reasonable now-days. Do you need LV and EVF or high ISO for M?
*seeks guidance from elders*
