Or you could just use your histogram and Expose To The Right
Chuck ETTR Norcutt
On 8/31/2012 6:15 PM, Tina Manley wrote:
> I agree that one is pretty bad. I haven't seen anything like that yet, but
> give me time! Processing would make a huge difference, too. I just ran
> mine through LR with auto everything. I'm sure when I take time to work on
> them, I can tame those highlights and shadows. Knowing where to point the
> camera for the exposure seems to make a bigger difference with this one,
> too! I may get out my old Minolta Spotmeter and play with it for awhile!
>
> Tina
>
> On Fri, Aug 31, 2012 at 6:02 PM, Dawid Loubser <dawid@xxxxxxxxxxxxxxx>wrote:
>
>> And more power to you, Tina - everybody should use the tools and process
>> that suits them best. Just watch the contrast range of the scenes you
>> photograph.
>>
>> I was totally dumbfounded by the poor dynamic range exhibited in some
>> M-M samples, here is one:
>>
>> http://shoottokyo.com/wp-content/uploads/2012/05/L-22.jpg
>>
>> I swear this is much worse than my Four Thirds camera even, and either
>> this shows that it's really a mistake to remove the CFA from a CCD
>> sensor, or there is something else very odd going on.
>>
>> Have you had any obvious problems to the degree exhibited by the shot
>> above? Your dog shot showed it mildly, but the shot above is really just
>> a shocker.
>>
>> Can't believe it's an image made with an $8k camera and a $7k 50mm f/2.0
>> lens, looks like a $200 P&S.
>>
>> Of course, the hands holding the tools make all the difference!
>>
>> Dawid
>>
>>
>> On Fri, 2012-08-31 at 17:21 -0400, Tina Manley wrote:
>>> I used film and Leicas for over 30 years, developing everything in my
>> Jobo
>>> and even buying bulk film and loading it myself. I am so, so glad I
>> don't
>>> have to do that anymore for many reasons. Carrying all of that film
>>> through airports is one reason. Not knowing if I had the photo until I
>> got
>>> home and developed the film is another. No more headaches in the darkroom
>>> is another. I had state-of-the-art fans and ventilators in my darkroom
>> but
>>> still developed allergies and could not stay in there longer than fifteen
>>> minutes before I got terrible headaches. Expense is another. Limits on
>>> experimenting because it meant more film, more chemicals, more time.
>>>
>>> I admire film photos and am still scanning my huge backlog, but I also
>>> admire digital photos when the photo is about the subject and not the
>>> process. I am very happy with my new B&W camera and will never go back
>> to
>>> film. I'm too old and it's too late. I'm just glad Leica has made it
>>> possible for me to use all of my wonderful film lenses on my digital
>>> cameras.
>>>
>>> Tina
>>>
>>> On Fri, Aug 31, 2012 at 5:08 PM, Dawid Loubser <dawid@xxxxxxxxxxxxxxx
>>> wrote:
>>>
>>>> I am afraid I have to disagree - nothing film-like at all about them to
>>>> my eyes, far too "linear". The Leica M Monochrom's archilles heel is
>>>> much more limited dynamic range compared to e.g. a standard M9 (not to
>>>> mention the even the worst monochrome film) and it shows in the
>>>> highlights that clip very abruptly.
>>>>
>>>> Tina, this is nothing personal. You have acquired an absolutely
>>>> wonderful tool, that is sure to make most of us envious. You just have
>>>> to understand that some of us around here are very passionate about
>> film
>>>> (few more so than Ken and Myself, actually).
>>>>
>>>> I shoot B&W film almost exclusively, and have come to appreciate the
>>>> great differences between ti and digital capture. The MM has
>>>> extraordinary resolution, exceeding all but the most carefully-shot
>>>> medium format film.
>>>>
>>>> But the tonal response and dynamic range is like just any other digital
>>>> camera - linear, and very limited compared to film. That's not to say
>>>> you can't mess with the processing to make it appear very close to film
>>>> (I myself have attempted some successful Olympus E-5 conversions that
>>>> closely imitate Adox CHS Art film, one of my favourites).
>>>>
>>>> It however takes but a single large B&W negative in the darkroom to
>>>> realise again how very different the two mediums are.
>>>>
>>>> If I may use as an example your image of the dog:
>>>> http://www.pbase.com/tinamanley/image/145748288
>>>>
>>>> It appears flat and linear to my eyes, and it's clear that both in
>>>> shadow and highlight detail retention that the sensor did not have
>>>> enough dynamic range to capture the image. Of course, we sit with the
>>>> same problem with our (Micro) Four Thirds sensors.
>>>>
>>>> If I may offer a comparable "pet" shot (don't have many of those) taken
>>>> in extremely harsh direct afternoon sunlight, captured on 35mm film:
>>>>
>>>>
>>>>
>> http://fc05.deviantart.net/fs70/f/2011/339/6/8/mousse_portrait_by_philosomatographer-d4i9b7j.jpg
>>>>
>>>> The white parts of the cat exhibit the gentlest transitions to
>>>> near-white, but never clips, courtesy of Kodak TMY400-2's extreme
>>>> dynamic range. This was shoot at ISO 400 at full midday sun at f/2.5,
>> an
>>>> over-exposure of a considerable number of stops.
>>>>
>>>> Digital is FAR from matching monochrome film in tonal response and
>>>> dynamic range, make no mistake.
>>>>
>>>> Enjoy your wonderful, wonderful toys! I sure would like some of your
>>>> lenses for my M3... Looking forward to many more images from you with
>>>> the MM.
>>>>
>>>> regards,
>>>> Dawid
>>>>
>>>> On Fri, 2012-08-31 at 15:28 -0500, Ken Norton wrote:
>>>>> Those are the most film-like digital BW images I've ever seen.
>>>>>
>>>>> --
>>>>> Ken Norton
>>>>> ken@xxxxxxxxxxx
>>>>> http://www.zone-10.com
>>>>
>>>> --
>>>> _________________________________________________________________
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>>>>
>>>>
>>>>
>>>
>>>
>>> --
>>> Tina Manley, ASMP
>>> www.tinamanley.com
>>
>> --
>> _________________________________________________________________
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>>
>>
>>
>
>
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