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  2. I won't comment on the "huge loss" as I'm still amazed at how much one can, even from the M9 which is not famous for high dynamic range, recover from the shadows even with the method I wrote in an above post. I stick with base iso, that's why the raw converter picks up a low black point which might help in this regard. If your method works even better I'm happy for you. I won't talk either about adjusting highlights after the tiff conversion as I never do it and tend to avoid blowing them at exposure as much as I can. Regarding the command line part, you are aware that it is just an input method as is a GUI? Maybe are you confusing the command line in a graphical session with the text only console session? Using command line input does not prevent one from seeing the resulting picture at the same time in an image viewing utility, I'm not sure where the blindfolds are coming from.
  3. Nobody needs a 28 1.4 lens. Speed with a 28 is a non-issue as you can hand hold at 1/30 or 1/15 and expect a reasonably sharp (non- blurry) photo. At slower shutter speeds, use a tripod/monopod and you are set. I have the 28 Elmarit M ASPH (latest version) and it is outstanding, both in terms of image quality and portability. In use, its small size is a pure delight, and matches the M body proportions perfectly.
  4. I prefer either: 28, 50, and 90; or 35 and 75 (to which I’m about to add a 135).
  5. ok, i am an ox - there are many manuals & instructions for opening RAW/DNG files with Gimp & Co. the market changed since i last looked into this years ago, but now with v2.10 things improved a lot. so, i have to adjust a bit my 'workflow'. more about this another time...
  6. One more with a rain storm approaching... East Chop Light, Oak Bluffs, MA
  7. 25 miles away from any runway at Dover AFB - but indeed it is a lighthouse where Delaware Bay opens to the sea. Can you name it and the nearby harbor town? My original building is ~10 miles from the same lighthouse, in a different direction - Delaware is still a key clue, however.
  8. I’m an eye doctor from California. Hopefully I can help a bit. Your left eye distance spectacle prescription: Plano - 1.25 x 30 indicates the correction is for astigmatism. The “axis” or orientation of the corrective lens will be 30 degrees. See image below. If you could have a custom astigmatic corrective lens made for the Leica eyepiece, it would have to be oriented to 30 degrees for it to correct your vision. It the axis or orientation of the corrective lens is changed, the lens will blur your vision rather than correct it. Your are fortunate that your distance optical correction is relatively “mild”. You may want to try an approximation of your prescription called the “spherical equivalent”. This is calculated as half the astigmatic correction using spherical lenses. The spherical equivalent of your prescription is - 0.67 diopters or approximately -0.50 diopters. So the first step would be to try a corrective eye piece lens of -0.50 diopters. It should provide clarity of the rangefinder. This corrective lens would not be comfortable for full time use in glasses but may be a good compromise for taking photos. I hope this helps. Be well, Richard Clompus
  9. Very thought provoking reading! Very cool. You have a facility for bumping the turnstile opening several into paths leading to still more turnstiles. It gets so labyrinthine, or I should say layered, since layers of color fields can allude to layers of meaning, even in an abstract sense of having no apparent meaning. Here, I am citing Malevich's notion of a construction of "objectlessness," such as Malevich's "Black Square" (1915) I've mentioned earlier. So, in "Dark Slide," I assembled seven images, some of which are not strictly color fields but identifiable objects: the skull, tree shadows, and print type. And then, there's the illusion of transparency. It's an illusion, and it speaks to what the photo-construction is not as much as what it is. The notion that photographs are as much about what we don't see, perhaps even more so. This was one of the motivating ideas for me in this piece, as well: to coax a dark slide into bearing testimony. The path opened by one of your turnstiles is ascribing value, interpretation, to the actual images, translating a narrative, so to speak, making meaning from the context of the images. It's notable that "Dark Slide" and my other photo-constructs are very much 17th-century still lifes with a flash forward to 20th-century color fields. Significant, though, is that "the language of a photograph is the language of events," as John Berger says. The question now is what is the event in "Dark Slide"? Come back to your erudite reading that connects the elements (images plus color!) into a meaningful narrative. Vanitas still lifes of Dutch paintings in the 16th and 17th century underscored man's mortal nature and the skull was a common motif. If we go back to Alciati Emblemata of the early 16th century, we see the beginning of iconic images married to text ascribing meaning. I appreciate your significant reading of the two red colors in "Dark Slide" and your memento mori--but life and death of the photograph in a fraction of a second was as far as I got, intuitively. Just love the way your analytical mind puts it all together and has my turnstiles spinning. Thanks so much. Cheers, Rog
  10. Instax läuft wohl in der Tat sehr gut, siehe auch im Geschäftsbericht: https://www.fujifilmholdings.com/en/pdf/investors/finance/results/ff_fr_2019q4_001.pdf
  11. Today
  12. Sam, it’s not clear from your post whether or not you wear eyeglasses when using your M10. I have two sets of varifocal glasses, one for distance and another for reading. Since the varifocal distance glasses were entirely unsuitable for using with a rangefinder camera, I had my optometrist prescribe a set of bifocals: the upper lens for distance, the lower lens for checking the LCD at waist level. We then tested for the correct diopter using the method Jeff suggested, with him placing various trial diopters in front of my M10-P’s viewfinder while I attempted to focus while wearing the bifocals. Not surprisingly, since my vision was being corrected by the eyeglasses, a +0.5 diopter gave the best result because it “zeroed out” the M10/M10-P viewfinder’s -0.5 default. If you don’t wear don’t wear your glasses whilst photographing with your M10, someone more knowledgeable may be able to suggest a diopter based on the optical information you provided. However the procedure that Jeff recommended and which worked well for me—trialling different diopters while looking through the viewfinder—is easy and reliable.
  13. Na., dann will ich meinen alten Schätzchen auch mal eine Chance geben...
  14. Glazing - café window, Chatalet, Paris 1e; DMR 21-35 Apo Asph Taken on the fly whilst walking past, photographer and R9 / DMR camera are visible in reflection, just near the waiter.
  15. Sam, I just sent you an email with some information that might help you. r/ Mark
  16. Hi all, I am new to this forum and new to Leica with an X2. I'm posting my 4th image, from first use, featuring my less than cooperative household model Gracie.
  17. Seems the lens is a Tessar design, from the icarette. The lens predates the Zeiss/Ica merger during the mid ‘20s. ••••••••. First 35mm SLR? ????? I see similarities with Graflex designs,, **** And being the crafty optimist I’m predicting I get this camera working, and the images from it will be spectacular. Any Doubters? 🙂
  18. I bought my MP240 used at a Leica camera store. . The previous owner had upgraded to new M10. He also traded in 50 cron and 21 sem so I took them also. I couldn't afford a 35 cron or lux so I order 28 Elmarit. I am happy with these lenses and when im traveling take all 3 and try to give them all equal time as I enjoy the images from all 3 focal lengths ..
  19. this whole field of RAW/DNG conversion is new-land to me. i am therefore entirely open to suggestions. as you, indergaard, seem to live in a similar computing environment i am curious and keen to hear your advice regarding linux compatible solutions. i just thought that those 14bit Leica DNG files are fully represented in the 16bit TIFFs and therefore could the subsequent adjustments be done in the TIFF space. i am actually already experiencing quite some difficulty (in Gimp) correcting my flat and dark looking files, and and was wondering what color correction scheme i could apply to and perhaps extract from the DNGs. if possible i would prefer to do the data-prep step in python and thereafter switch to the next phase using Gimp for data processing. i vaguely remember reading years ago doing raw conversion in Gimp. i guess i have to go behind the books = rtfm ! regarding scanning film (and darkroom), i actually scanned over 5 years all my negatives, mainly b&w which is obviously simpler, but then also color negatives and diapositives. so, at times i adjusted my settings prior to scanning where it deemed worth the time. in that sense i fully agree with your comment.
  20. G Force Maker..@ Castle Air Museum Atwater Ca M-P240 Safari + 35mm Summicron ASPH
  21. I think they have more in common than that they are different. It is a matter of emphasis. The T series is more modernistic, the CL is designed for photographers with a more classicas taste.
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