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  2. joachimw

    Der Photograph

    Ich glaube dem Bild hätte es gut getan, dem Fotografen nicht die Füße abzuschneiden und ihn auch viel weiter nach recht zu stellen. Es wäre schon interessant zu sehen, was er interessantes aufnimmt.
  3. Jan Böttcher

    Dringendes Hilfegesuch

    Lass' Dir die Sort-Ends mitgeben!
  4. Rona!d

    Name this car....

    I was thinking of a Mini based special/kit car.
  5. LocalHero1953

    'Hopelist' for SL2

    Hi Stuart - you are right, the snark was unnecessary, and I apologise. It is too easy to let these things slip when at a keyboard remote from your audience.
  6. joachimw

    ohne Titel.....

    Mir gefällt das Bild auch, aber die technische Umsetzung ist gewöhnungsbedürftig.
  7. rainer-sw

    Q2

    Was verpennt, wer nimmt zwei Kameras mit? Eine Q1 und eine Q2 parallel? Nie und nimmer. Mich persönlich hat bisher die Auflösung vom Kauf einer Q abgehalten uns so habe ich mir eine RX1R2 zugelegt. Hier gibt es einfach viel mehr Möglichkeiten. Die Q2 hingegen reizt mit ihren Spec. sehr.
  8. dancook

    Any M to Q converts out there?

    Further to my point, I took this photo with the hasselblad - I could not have taken this photo with a Leica Q without significant cropping. the 47MP sensor would provide a larger file to work with, and I see no reason the Leica Q would suffer from micro-blur versus my X1D...
  9. Macro-Elmarit

    Vorwitznase

    FC-Fans sind überwiegend rot ...
  10. kmhb

    Q2

    Kaufleute sind eben keine Fotografen, wobei Leica bestimmt einige erfahrene fotografierende Kaufleute beschäftigt, deren Einfluss auf Produktentscheidungen und Strategien dürfte allerdings eher nicht ausreichend gewichtig sein. Andererseits bleibt die Frage, ob hinsichtlich einer 50mm FB Variante tatsächlich entsprechend Nachfrage besteht? Eine "Q-Z"(oom) mit 24-48mm, inkl. 60mm via internem 1,25-fach crop, würde die genannten Bereiche optimal abdecken.
  11. nicci78

    Puts weighs in on Q…and more

    Of course if you are not a select customers of these shops. You will get no information. I just buy Leica stuff into every parisian Leica shops. They are all nice. No fidelity whatsoever, except for Leica Store Beaumarchais for their secret launching list. But they all got one anyway.
  12. dancook

    Any M to Q converts out there?

    I shoot with the Hasseblad X1D with a 50MP sensor and longer focal length (90mm) I never get 'blur from pixel-shift' - and I've also taken 1:1 sharp shots at 1/45th hand held. If with the Leica Q, 1/125th, F1.7, ISO 100 provides the correct exposure for an image with stationary subject, neither the 24MP or 47MP are likely to exhibit blur, but the 47MP sensor provides more MP to work with.
  13. eckart

    Dringendes Hilfegesuch

    Im Kino geht das schon noch, aber wer bleibt denn außer den Filmschaffenden selbst so lange sitzen bis die durch sind? - Wir drehen übrigens mit Film, unter anderem sogar mit SW-Film, den guten alten Double-X Der Müllsack zeigt die gestrigen Reste vom Umlegen...
  14. nicci78

    Puts weighs in on Q…and more

    Leica representatives are quite talkative. There is no secret culture among them. Not like Apple at all. They can even confirmed rumours for you. I once place myself in third position into their secret launching waiting list for the M10. Three weeks before official announcement. I also got the first Q sold in Paris like that. You can already place "secret" order for Q2 if interested. The list is already growing.
  15. Kwesi

    From M240 To M10 question!

    The shutter speeds are consistent. Its the ISO number readouts that are not consistent across the M240/M10/Q cameras given the same light level.
  16. WvE

    M10 Monochrom in 2-3 months

    Then it's a farewell Leica and off to Fuji or Nikon.
  17. Michael Kersting

    Any M to Q converts out there?

    Right if you don't blur the image with pixel-shift.
  18. Michael Kersting

    Any M to Q converts out there?

    Hi Chris, just to inform you about how astonishing the Q does portraits look at the LFI 8.2018 and the cover story from Marksteen Adamson. He is "just" a hobby photographer and with his portraits gets a cover story in this renowned magazine, which I find remarkable. He uses a Leica Q and off camera flash. His photos remind me of the ones from the great Bruce Gilden or Martin Parr. All his portraits are spontaneously bespoken on street. So have a look, what can be done with the Leica Q. I tried it myself and portraits look amazing. But you have to decide, if this one kind of portrait style suits you. If you want to add a camera to the Q other than the manual focusing M, that you have, my recommendation are either the Leica SL with the APO-Summicron 75mm (although there is a 90mm I would go for the more versatile 75mm) or the Leica CL with the Summilux 35mm 1,4 (this is a stellar combination given its price and weight) Hope I could help. .
  19. stray cat

    I like film...(open thread)

    Rog - here’s the truth (I swear by almighty, etc) of how it all went down. It’s late ’49 and all the abstract expressionists are gathered one fine day in Pollock’s Studio in Springs, drinking red cordial and getting pretty out of control, and someone, I think it was one of the color field guys, maybe Rothko, says out of the blue, “you know what our problem is?” To which de Kooning (of course - who else - and also, predictably, to the corroborative giggling and carrying on of Kline and Twombly) offers the wisdom that “action painters don’t have no problem, dick, it’s just color field wankers who have issues”. But then Rothko (no, come to think of it it's Barnett Newman) retorts with “nah, even so-called action slackers have the same problem as us - Greenberg reckons we're the epitome of aesthetic value, and there's no arguing that we do psychic improvisation OK but... we ain’t got no FORM to our work”. This of course causes an eruption of murmering and a general disquiet until Clyfford Still suggests “... as in conventionally structured formal subjective composition? You mean like them pyramids they got down there in Vegas?”. “Nah, dummy” interjects Lee Krasner, offering around a plate of bread covered with hundreds and thousands, “like the REAL pyramids - in Egypt”. So Pollock, ever the genial host, immediately rings up TWA and books first class seats for them all to Cairo. Due to numerous factors including the weather, the Super Bowl, a film vs digital debate on LUF and late season bookings they have to travel via Vence in the South of France, which is where they find themselves next day. Trouble being, they’ve left New York in such a rush they’ve forgotten their paints. Luckily for them Henri Matisse happens to be in the transit lounge and when they explain their predicament to him he responds “Pas de problème, connards, j'ai une palette de rechange. Même les expressionnistes abstraits ne savent même pas dessiner, sans parler de la peinture ...” Which roughly means “I have a spare palette. Take it - and with it may you create beautiful works”. Soon Egypt looms and they are landing in front of the Pyramids. The plan? To check out the pyramids (which they do) in order to gain inspiration so that they can paint stuff which contains revolutionary things like content and form. Unfortunately it is very expensive to stay in Cairo so they hitch a ride on a felucca down the Nile as far as low-rent Luxor. Their American Express travellers cheques by now having dwindled to almost zero, they’re forced to look for work. Fortunately, a house painter named Abdul has just sacked one of his workers for stealing his camel so he hires them on a trial basis and points out a row of houses that are, to be kind, lookin’ somewhat drab in their beiges and greys. Abdul exhorts them to “do yer worst, fellers” and, as they only have between them the single palette of Matisse’s to work from, they are forced to draw straws made from the papyrus reeds that grow abundantly on the shores of the great river. Robert Motherwell draws the short straw but then, and no-one has ever been able to explain what happened next, somehow it is Hans Hofmann who is passed the palette. Hoffman works furiously and paints like a man possessed, each stroke of his brush laden with such unimaginable emotional intensity that it causes Arshile Gorky to swoon and Anne Ryan to faint. However when Abdul returns he just stands, jaw agape, anger growing and can only utter “يا هذا فظيع” before the Abstracts all feel it best to scram at great haste. Abdul, watching the Abstract Expressionists running away, decides he’s seen enough and had enough of the painting game so instead becomes lead baritone, playing Amonasro, King of Ethiopia for that evening’s performance of Verdi’s “Aida” at the Temple of Karnak. The Abstracts, meanwhile, have decamped in haste and en masse back to the Valley of the Kings from whence they are able to travel by donkey cart, courtesy of an art-loving peasant named Mustafa, to Alexandria. Here they are able to talk themselves onto the Cunard Liner Queen Mary which is on her final journey to California, and they even manage to wangle a gig as a comedy routine onboard. Finally back in the USA, eschewing any notion of changing their styles and instead resuming their former modus operandi of color field and action, the Abstracts shift the centre of the known art world to Long Beach - which explains why the residents of said town are so knowledgeable about all things art. While this is all goin' down Mustafa and his donkeys have kept going and end up in Cairo, where Mus becomes Chief Curator of Antiquities at the British Museum. Mustafa, sitting on his ass, Valley of the Kings A few years later, a lost Australian traveler happens by the long-forgotten walls of what has come to be known colloquially as “حماقة هوفمان”. Deciding to blow off a few frames at the end of his last roll of Kodachrome so he can wait for the onset of digital a mere few decades hence, he points his camera randomly and accidentally takes the only known photograph of the only known extant example of the abstract expressionists’ historic foray into the world of form and content. As for Abdul, he is still with the opera, although now singing in the mezzo-soprano role of Amneris, Princess of Egypt, in the Elton John/Tim Rice version. And that, Rog, is exactly how it all went down, I kid you not.
  20. IamTheDistance

    Rangefinder questions

    I think that your fears are the result of using other systems and technologies different than rangefinder so you are trying to adapt the usage of a rangefinder camera to a different system camera. 1. When using zone focusing, is it a case of choosing say f8/f11 for greater DOF to ensure you have a better chance of good focus on moving subjects? I don't use greater depth of fields to ensure an easy focus, but to modify the look of the photo. f/8 will allow me to relate the main subject or subjects with the elements on the background, to tell a story. As a result, you will have almost everything in focus and you don't need to be precise when focusing. 2. The above depending on light may mean using 3200 ISO or above to ensure correct SS. Nowadays, cameras are good with high ISO. I've shot at 5000 ISO with the M10 and I found that the image quality was pretty decent. 3. When focusing on people moving towards you how difficult to manual focus with the patch? You have to predict the way of your subject. If the subject is a persona walking straight to you, just focus on the place you would like to shoot your subject and wait for it👍🏻 4. How to focus on subjects towards the edge of the image without focus and recompose? Recomposing is ok but be careful if your shooting at small apertures. 5. When framing an image in Portrait mode is this more difficult to focus? It depends on the pattern of your subjects. Sometimes is impossible to me but I usually use f/5.6 or f/8 so I just set the focus zone by the scale. Don't be scare of rangefinders. Of course you have to practice but it's fun and not difficult. You will be so used to shoot with it that you won't look at the scale on the lens. You will set the focus by touching the tab of the lens. Knowing the position of the tab will tell you that it is set to 1.5m, 2m, 5m or infinite.
  21. WvE

    M10-D: is “D” for dud dot diode?

    I'm actually reluctant to buy a new digital M. The M's being way overpriced, I would have expected Leica to put way more effort into QC.
  22. Tragg

    M10 Monochrom in 2-3 months

    They'll be unlucky if they do
  23. cool..that's what i was curious about
  24. nicci78

    Puts weighs in on Q…and more

    local anecdotes tells a lot. T was a disaster, sales wise. Such as X Vario. FNAC almost ended selling Leicas because of T, X Vario and X 113 sitting on the shelves forever. However Q saves it all. By the way FNAC refuse to sell and to accept any order about TL2. T and TL2 was such a disaster, they do not want to touch this line anymore. Funny thing they still try to clear off their last T cameras.
  25. sblutter

    SD card not catching - M240

    Thank you - different card worked. Original was unlocked, looks and feels right... a mystery - but at least I'm back to work!
  26. dancook

    Any M to Q converts out there?

    Because I can crop to a different field of view and have still enough MP left to work with.
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