LCC (lens cast correction) comes from medium format backs and large format scanning backs, where the photographers aren\'t as lazy as we are. It is generally well known that some lens/sensor combinations result in various casts and colour shifts. For serious MF photographers, the solution is to carry around a white diffusor, and to take a shot with the diffuser, then the shot without. The diffusor shot is analyzed by C1 (or other, similar software, like Sinar eXposure, Hasselblad Phocus and so on), and the colour casts detected are removed from the real shot. This gives perfect colour when done right.
It is possible to simplify this a little, to avoid so much work for every shot, not to mention tripod setup, in that you put the lens on, make a shot against the sky or another uniform light source, with the diffusor in front of the lens, and then use this shot for all your LCC. If you want a bit more accuracy, do one for each aperture, or every second stop.
Even lazier is what we do. Let Leica calculate an average necessary correction over all lenses of that type, and all apertures. This of course doesn\'t work perfectly, especially for decentered or otherwise flawed lenses, but we can send them back to Leica for fixing, and they do it. It doesn\'t work at all with any other lenses, and you just have to try to get close by trying different Leica profiles. Luckily it isn\'t much of an issue from about 35/2 and up. For 35/1.4 it is, and anything wider as well.
My justification from this last bit comes from a comparison I once did:
LCC (lens cast correction) comes from medium format backs and large format scanning backs, where the photographers aren\'t as lazy as we are. It is generally well known that some lens/sensor combinations result in various casts and colour shifts. For serious MF photographers, the solution is to carry around a white diffusor, and to take a shot with the diffuser, then the shot without. The diffusor shot is analyzed by C1 (or other, similar software, like Sinar eXposure, Hasselblad Phocus and so on), and the colour casts detected are removed from the real shot. This gives perfect colour when done right.
It is possible to simplify this a little, to avoid so much work for every shot, not to mention tripod setup, in that you put the lens on, make a shot against the sky or another uniform light source, with the diffusor in front of the lens, and then use this shot for all your LCC. If you want a bit more accuracy, do one for each aperture, or every second stop.
Even lazier is what we do. Let Leica calculate an average necessary correction over all lenses of that type, and all apertures. This of course doesn\'t work perfectly, especially for decentered or otherwise flawed lenses, but we can send them back to Leica for fixing, and they do it. It doesn\'t work at all with any other lenses, and you just have to try to get close by trying different Leica profiles. Luckily it isn\'t much of an issue from about 35/2 and up. For 35/1.4 it is, and anything wider as well.
LCC (lens cast correction) comes from medium format backs and large format scanning backs, where the photographers aren\'t as lazy as we are. It is generally well known that some lens/sensor combinations result in various casts and colour shifts. For serious MF photographers, the solution is to carry around a white diffusor, and to take a shot with the diffuser, then the shot without. The diffusor shot is analyzed by C1 (or other, similar software, like Sinar eXposure, Hasselblad Phocus and so on), and the colour casts detected are removed from the real shot. This gives perfect colour when done right.
It is possible to simplify this a little, to avoid so much work for every shot, not to mention tripod setup, in that you put the lens on, make a shot against the sky or another uniform light source, with the diffusor in front of the lens, and then use this shot for all your LCC. If you want a bit more accuracy, do one for each aperture, or every second stop.
Even lazier is what we do. Let Leica calculate an average necessary correction over all lenses of that type, and all apertures. This of course doesn\'t work perfectly, for decentered lenses, but we can send them back to Leica for fixing, and they do it. It doesn\'t work at all with any other lenses, and you just have to try to get close by trying different Leica profiles. Luckily it isn\'t much of an issue from about 35/2 and up. For 35/1.4 it is, and anything wider as well.
LCC (lens cast correction) comes from medium (backs) and large (scanning backs) format digital photography, where the photographers aren\'t as lazy as we are. It is generally well known that some lens/sensor combinations result in various casts and colour shifts. For serious MF photographers, the solution is to carry around a white diffusor, and to take a shot with the diffuser, then the shot without. The diffusor shot is analyzed by C1 (or other, similar software, like Sinar eXposure, Hasselblad Phocus and so on), and the colour casts detected are removed from the real shot. This gives perfect colour when done right.
It is possible to simplify this a little, to avoid so much work for every shot, not to mention tripod setup, in that you put the lens on, make a shot against the sky or another uniform light source, with the diffusor in front of the lens, and then use this shot for all your LCC. If you want a bit more accuracy, do one for each aperture, or every second stop.
Even lazier is what we do. Let Leica calculate an average necessary correction over all lenses of that type, and all apertures. This of course doesn\'t work perfectly, for decentered lenses, but we can send them back to Leica for fixing, and they do it. It doesn\'t work at all with any other lenses, and you just have to try to get close by trying different Leica profiles. Luckily it isn\'t much of an issue from about 35/2 and up. For 35/1.4 it is, and anything wider as well.
LCC (lens cast correction) comes from medium format photography, where the photographers aren\'t as lazy as we are. It is generally well known that some lens/sensor combinations result in various casts and colour shifts. For serious MF photographers, the solution is to carry around a white diffusor, and to take a shot with the diffuser, then the shot without. The diffusor shot is analyzed by C1 (or other, similar software, like Sinar eXposure, Hasselblad Phocus and so on), and the colour casts detected are removed from the real shot. This gives perfect colour when done right.
It is possible to simplify this a little, to avoid so much work for every shot, not to mention tripod setup, in that you put the lens on, make a shot against the sky or another uniform light source, with the diffusor in front of the lens, and then use this shot for all your LCC. If you want a bit more accuracy, do one for each aperture, or every second stop.
Even lazier is what we do. Let Leica calculate an average necessary correction over all lenses of that type, and all apertures. This of course doesn\'t work perfectly, for decentered lenses, but we can send them back to Leica for fixing, and they do it. It doesn\'t work at all with any other lenses, and you just have to try to get close by trying different Leica profiles. Luckily it isn\'t much of an issue from about 35/2 and up. For 35/1.4 it is, and anything wider as well.
