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Color Blind
[MM | 28 Summicron]
Leica M Monochrom: best pics
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[MM | 28 Summicron]
Vince Lupo
Whatever
Rayt
Nonplayer Character
Vince,
I really like these two shots. They look like scanned TMAX 100. Right now I am 100% b/w film user but am on the fence about getting the MM mainly because I want to be able to keep shooting even when it gets dark. I really don't like the look of film pushed beyong iso800 but the MM really looks good even higher.
There are many wonderful photos posted on this thread. My question is: many of these posted shots look obvious "digital" and I don't like that look (and nothing wrong with that, just not for me). But then I see shots like yours with film qualities and I am really interested. How do you get this look? Is it the software, the processing, the choice of modern vs. classic lenses?
Thanks,
Ray
I really like these two shots. They look like scanned TMAX 100. Right now I am 100% b/w film user but am on the fence about getting the MM mainly because I want to be able to keep shooting even when it gets dark. I really don't like the look of film pushed beyong iso800 but the MM really looks good even higher.
There are many wonderful photos posted on this thread. My question is: many of these posted shots look obvious "digital" and I don't like that look (and nothing wrong with that, just not for me). But then I see shots like yours with film qualities and I am really interested. How do you get this look? Is it the software, the processing, the choice of modern vs. classic lenses?
Thanks,
Ray
Vince Lupo
Whatever
Thanks for the comments, Ray. I'm pretty well shooting at ISO 320 (RAW of course), am doing general adjustments in PhotoShop CS5 RAW, then saving them as TIFFS. Then, I generally take them into SilverEfex Pro2 and do very light adjustments there. The one thing I don't go crazy with are the 'structure' sliders. That is the thing that I think can make the photos look too 'digital' as you call it. A little bit just to bring up certain tones - whether it's the shadows, midtones or highlights - and that's about it.
As far as the lenses go, I've been using my 0.95 Noctilux for quite some time (generally shooting with the wider apertures), though I think I'm going to set it aside for a while and use my Summicron. I've been traveling with a 21 Elmarit, 35 Ultron, the Noctilux and a 75 Summarit, but I tend to default to the 35 and 50. So I'm going to see how just a two-lens kit does for me. Will definitely be a lot lighter!
As far as the lenses go, I've been using my 0.95 Noctilux for quite some time (generally shooting with the wider apertures), though I think I'm going to set it aside for a while and use my Summicron. I've been traveling with a 21 Elmarit, 35 Ultron, the Noctilux and a 75 Summarit, but I tend to default to the 35 and 50. So I'm going to see how just a two-lens kit does for me. Will definitely be a lot lighter!
Rayt
Nonplayer Character
Thanks for that. I will likely get one as soon as I let go a few under used lenses! Seeing your photos really pushed me over the edge!
fabio_rf
Well-known
I wish I could! I'm not that often in Tokyo, but will be back there next year. It's pretty nice indeed (tiny place!).
thompsonks
Well-known
Agree with Vince about the Structure sliders! With MM files, the challenge is to extend the 'space' for lowest and highest tones, and too much of Nik's Structure just makes things worse.
I usually set the Highlights structure slider to 0 or to a negative number, while raising the Midtones and Shadows to about 33% to make a layer – and then I again reduce the filter's opacity to somewhere in the range of 20 to 50%. IMO any more than this looks exaggerated and, yes, digital.
But with this sort of backed-off respect, I do like to use them. They're like the Clarity sliders in LR/ACR, but you don't 'bake' their effect into the file at the beginning. It can be increased or reduced as a last step in printing, after looking at a work-print.
Kirk
I usually set the Highlights structure slider to 0 or to a negative number, while raising the Midtones and Shadows to about 33% to make a layer – and then I again reduce the filter's opacity to somewhere in the range of 20 to 50%. IMO any more than this looks exaggerated and, yes, digital.
But with this sort of backed-off respect, I do like to use them. They're like the Clarity sliders in LR/ACR, but you don't 'bake' their effect into the file at the beginning. It can be increased or reduced as a last step in printing, after looking at a work-print.
Kirk
Vince Lupo
Whatever
srtiwari
Daktari
Vince Lupo
Whatever
fabio_rf
Well-known
Love that shot, Vince. They almost look like figurines.
airfrogusmc
Veteran
fabio_rf
Well-known
jmanivelle
Well-known
Vince Lupo
Whatever
Untitled by Vince.Lupo, on Flickr
Westport Early Morning by Vince.Lupo, on Flickr
At Jones Falls by Vince.Lupo, on Flickr
john neal
fallor ergo sum
I particularly like the last one, Vince - super tones!
jmanivelle
Well-known
jmanivelle
Well-known
icebear
Veteran
This perfectly captures the atmosphere. The tranquility before the day really starts with some cries of seagulls.
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