Hello all,
Chris wrote
>
> Well for one thing, the OM 50 f 1.8 has horrid Bokeh, while Leica lenses are
> usually better in that regard. The Leica 50mm f2 Summicron R is the only
> Leica
> 50 that I have personally used and it's far superior to the Olympus lens. I
> Like
> the OM-4T much better then the Leica R4 that I had. I hated the ergonomics of
> the R4 so much I sold it and bought another OM-4T but I miss that Summicron.
>
> Here's a photo taken with the OM 50mm f1.8, shot at aperture of f4.
> http://chriscrawfordphoto.com/fine_art/portfolio/marys-bar/photopages/marys-
> bar15.htm See how harsh the out of focus areas are?
>
> Here's one with the Summicron, shot I think at f4 or 5.6.
> http://chriscrawfordphoto.com/fine_art/portfolio/grandpa/photopages/dog1.htm
> Look at the out of focus area outside the window, see how smooth it all is?
The main differences I see between these two shots are ( AG can tell us the
proper developer jargon)
1) the smoothness of, and degree of, gradation from black to white;
2) the detail of the white areas and whether or not the detail has been blown
out.
3) and as ( I think it was Chuck who pointed out) the distances from camera
to offending background are different between shots AND as we all know,
bokeh is affected greatly by how "fussy" the background is.
4) I also think the sunlight was muted in the snow? shot and very much not
muted in the salon shot. The range of exposure values between the shots
was quite different. ( Adams's Zone system applies). ( is that " ' " right?
:-)) )
The lighting for the snow shot has come out very soft.
ALSO
>From what I have read in Ansel Adams books but never personally put into
practice :-(( these aspects of quality are affected greatly by choice of film,
manner of development of film (including choice of developer chemicals),
choice of enlargement paper, choice of developer chemicals for the
enlargement print.
So, I suppose to be *really picky* a reasonable test would have half the
shots taken on one camera and the film then transferred to the other camera
for the remaining shots. This evaluation would probably require a static
interior setup that removes any chance of altered sunlight etc making
uncontrolled differences, since the shots could not be taken nearly
simultaneously.
Or, two rolls of film, two cameras, expose at the same time at the same
settings and develop on the same spool at the same time..
Picky :-) But, to be fair, these matters must be taken into account. IMHO.
Brian
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