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      The Leica Q Forum is about the new Leica Q3, Leica Q2, Leica Q2 Monochrom and the Leica Q (Type 116)

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      This section is dedicated to everything around the S-System: LEICA S2, LEICA S-E (Type 006) , LEICA S (Type 007) and LEICA S3.

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  2. Deutsches Leica Forum

    1. Leica M-System

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    2. Leica L-Mount

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    3. Leica Q3 / Leica Q2 / Leica Q

      Im Leica Q Forum geht es um die neue Leica Q3, Leica Q2, Leica Q2 Monochrom und die Leica Q (Typ 116).

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    4. Leica X

      Hier geht es um Leica X: Leica X Typ 113 sowie X1, Leica X2 und Leica X Vario

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    5. Leica D-Lux / Digilux / V-Lux / C-Lux

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    7. Leica S System

      Hier geht es um das Leica S-System , z.B. LEICA S2, LEICA S-E (Type 006) , LEICA S (Type 007) und LEICA S3.

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    8. Leica FOTOS App

      Alles rund um die Leica FOTOS App

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    9. Leica Sammler & Historica

      Das Leica Forum speziell für historische Leicas und Leica Sammler. Historica und Photographica - alles was der Leica Sammler sucht!

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    10. Foto-Forum

      Das Leica Foto-Forum zeigt Bilder von Forumsmitgliedern. Erlaubt sind lediglich Bilder, die mit Leica Equipment fotografiert wurden.

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    11. Leica & Allgemeine Diskussionen

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    12. Leica Forum Diskussionen

  3. Challenges / Wettbewerbe

    1. Digi - Lux Challenge

      Section for the Digi - Lux Challenge / Bereich für die Digi - Lux Wettbewerbe

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    2. Leica X Challenge

      Section for the X Challenges / Bereich für die X Wettbewerbe - für Bilder mit Leica X1, X2 und X Vario

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    3. Leica Mini Challenge

      Section for the Leica Mini Challenges / Bereich für die Leica Mini Wettbewerbe

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    4. Leica One Challenge

      Takes places every year in another city

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    5. Barnack Challenge

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  • Posts

    • hansvons
      White Balance - white vs... reality?

      By hansvons · Posted

      This is basically what most cinematographers do, except when shooting in a tungsten-lit studio when a day-light interior should look like day light. Then the correct setting would be dialing in 3200 on your Alexa or use Kodak 5213/19. That, BTW, is the reason why there are tungsten-balanced film stocks for filmmaking ( @adan referred to that above). Competent guy in the video, BTW. If you want to find out how well your camera white-balances a shot automatically, check out the blacks/very deep shadows value in the image. Often, they are not neutral but are tinted. In C1, the Levels tool can be set to independent RGB values, making your blacks black and whites white when using the Auto function (proper colour grading software in filmmaking has this option too). That way, you’ll get fairly neutral neutrals, which is mandatory for optimal colour separation. 
    • Leslie22
      SL3 , am I the only one ?

      By Leslie22 · Posted

      I’ve been surprised at how few people have talked about the new ISO dial, I had a quick handle of the SL3 at a Leica shop , and am VERY excited at the idea of switching from Aperture priority to manual ….. me selecting Aperture , shutter speed …… AND now the ISO as well. After a couple of years of the M11 selecting the ISO for me , what a wonderful change to be able to select all three.  
    • Stefan2010
      In Caceres

      By Stefan2010 · Posted

      Sehr schön Wolfgang! Mir gefällt auch das sw sehr. Seid ihr die Strecke über Valladolid und Salamanca gekommen? Ich liebe diesen Teil der Extremadura  Das muss jetzt im Frühling wunderbar sein. Stefan
    • hansvons
      White Balance - white vs... reality?

      By hansvons · Posted

      Great posts, Adan (as usual). Can’t agree more.  I may add that the colour craziness one sees in film scans quite often (more the rule than the exception) are mostly attributed to difficulties to neutralize the orange mask and make black black and white white. In professional film scanning, I‘m talking filmmaking here, there is a complex colour science in place to neutralize the orange mask and convert the negative. Similarly important is the person behind the wheels, the colourist, who white and black-balance the scene and give it in a later step the intended mood.  All of that must be replicated in a stills workflow, which only will pan out as it should if i) either the lab has a proper colourist working for them (only the big names have that for a premium price) or ii) the home scanning photographer has a deep understanding of what is going on. Until then colour negative images look off which is often confused with „film look“.  Done correctly, film stills look superior to most eyes in terms of colour reproduction. That’s why Nolan, Taratino, Spielberg and half of Hollywood prefer shooting on film (and me, too).  

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