One case where I\'ve learned that PP can\'t exactly transform a photo to one captured with a modern lens is with the Super Tak 135/3.5. Colors and sharpness are fantastic but it leaves a bit to be desired as far as contrast and tonal transitions. Trying to raise the contrast via a tone curve or black point level just intensifies the contrast but doesn\'t give that lovely separation of tones like the 135L, Nikkor 105/2.5 or Zeiss 100/2 do. Of course the lens I\'m working with is like 40 years old.
Same thing with Chromatic Aberrations. You can remove it via post but a lens that minimizes it before it hits the sensor will inherently have a different look from a lens that needs the extra PP (as seen with the 2.8/21 Distagon and the CV 3.5/90 APO).
As far as the PP in the original post, your examples show why I don\'t really like applying Tonal Contrast to my images. It can give some nice pop to lenses that may feel a little flat but its very easy to get the grey\'ish halo around various objects and it seems to compromise the color accuracy the lens captures. One looks at it and gets the sense that\'s its been processed.
One case where I\'ve learned that PP can\'t exactly transform a photo to one captured with a modern lens is with the Super Tak 135/3.5. Colors and sharpness are fantastic but it leaves a bit to be desired as far as contrast and tonal transitions. Trying to raise the contrast via a tone curve or black point level just intensifies the contrast but doesn\'t give that lovely separation of tones like the 135L, Nikkor 105/2.5 or Zeiss 100/2 do. Of course the lens I\'m working with is like 40 years old.
Same thing with Chromatic Aberrations. You can remove it via post but a lens that minimizes it before it hits the sensor will inherently have a different look from a lens that needs the extra PP (as seen with the 2.8/21 Distagon and the CV 3.5/90 APO).
Dec 08, 2011 at 06:45 PM
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