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bencoyote

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  1. Like
    bencoyote got a reaction from Tortuga in Skin tones with the M-P240   
    I used to do a lot of work with color and specifically color printing. Color is a very complicated topic and in the color theory classes that my employer sent me to the problem that the original poster described was introduced on the first day. They kind of used it as a starting point on the topic of sensation vs. perception. It would be impossible for me to distill weeks of classroom study down to a short forum post but let me try to get at the essence of it:
     
    There is an objective measurable interaction between an object and the light that hits it. We can build sensors that capture a portion of this interaction in a way that is similar to the way that our eyes do. This is objectively measurable.
     
    When we look at the world what we think we see is our perception. The thing that we have in our mind is something more like a HDR, focus stacked, white balance corrected, sharpened image which is highly modified in many ways based upon our past experience. This is what we call perception and by the time that your brain is done manipulating it this way and that it bears little resemblance to the actual sensations that your eyes generate.
     
    When we look at a still picture several layers of that processing are no longer available. We can't shift our focus or the white balance or a whole bunch of other factors. Furthermore because it is a still image we can look at it longer.and so things that we wouldn't have time to notice when trying to process the torrent of sensory data coming from our eyes in a moving scene are able to bubble up to our awareness.
     
    A really big factor to keep in mind when when looking at a photo is the very real difference between objective reality and perceived reality. When you are paused looking at a captured still photo, there is a very strong desire in some people to apply one of the last steps in your brain's automatic post processing to the image.That is to bring in your vast experience about what you think something like skin tones should look like and override the objectively captured information recorded by the camera.
     
    That is not to say the camera is always exactly correct. As Jaap pointed out even the camera has to infer some things like white balance. If you are just trying to be artistic and make a pretty picture do whatever you want. However, if you are doing product photography and you need to make sure that the clothes look the same on the model on the runway with carefully designed lighting, in the catalog, and on the ultimate consumer in the store with their likely florescent lights, and a home with Tungsten lights, and outside then you have to do a huge amount of work.
     
    1) As Jaap said profile the camera with a Color Checker passport. You will need to do this under various lighting conditions bright daylight, overcast, and a couple of indoor lighting conditions. With outdoor natural light two things that matters more than most people think it does is elevation and the amount of water vapor in the air. So if you are more than about 1000m higher than lower than the altitude which you calibrated your camera then you want run through the color calibration again. The same is true if you go from a very moist area like near the ocean to a very dry place. Different cameras are more or less sensitive to these changes. In my experience the M is a bit more sensitve to altitude than my T. I don't remember noting a difference with water vapor. When I first calibrated my Leica cameras, I remember thinking "Wow these Germans really are into objective reality vs. making colors look good (which is what other camera vendors often do -- ehm Olympus, Panasonic)." I also remember noting that my color profiles were not really that far off of the "Embedded profile" that was in the camera. However, ACR and LR's color profile was way way off. So one of the things that I put in my default develop presets is to change from "Adobe Standard" to "Embedded profile" for Leica cameras.
     
    2) When you say the colors don't look right, what are you looking that them on? The LCD, your computer's monitor, what? Have you calibrated it? How big is its color gamut? Is it good enough to represent the colors the colors recorded? And you haven't messed with the brightness or contrast or any other settings on the monitor since you calibrated it have you? Oh and one more thing what is the ambient illumination source in the room and how does it change throughout the day? The screens are not 100% black body absorbers and so the light source in the room can mix with with the light coming out of the monitor to distort even your sensation of color. If you really want to do it right, you should only edit your photos in a dark room with no natural light on probably a brand new MacBook Pro that you have calibrated with something like a ColorMunki Photo.
     
    And all of that is long before you ever try to print something. There you have to deal with the reflectivity and spectral neutrality of the paper, the metamersim of inks or pigments and finally the limited gamut of colors possible with printing.
     
    If you want to keep in really simple: Buy a brand new MBP and use Embedded profile rather than Adobe Standard, and only do your editing in at night with the lights off and remember that there is an objective way things actually are and there is an artistic preconception of how you believe things should be.
  2. Haha
    bencoyote got a reaction from Alberti in Accelerated brassing   
    For anyone looking for that "old pro" look or to garner respect granted people in the Leica community who pull out a brassed camera, one that has the authentic look of years heavy use (not one of those pre-brassed faux Black Chrome" special editions). i seem to have inadvertently stumbled across a method of accelerated brassing which surprisingly rapidly begins to give your camera an authentic brassed look.
     
    The technique is actually quite simple. You run to a place where you are going to shoot while carrying the camera in a conventional backpack. It seems that friction of nylon while being gently jostled thousands of times while running to your shooting location gently removes the surface paint in all the locations frequently seen on the cameras of old pro's who have taken their Leicas to dozens of countries and shot for a multitude of magazines for years. 
     
    You too can project the image of being a old grizzled pro without having to go through the effort of actually having to travel to far away destinations and shoot in dangerous situations or go through the bother of satisfying clients or even having to edit through thousands upon thousands of pictures. You can just pull out your elegantly brassed Leica with aplomb take a few shots and everyone will know that you have captured the magic in the moment and that there is some greatness in those few frames you have captured.
     
    ;-) 
  3. Like
    bencoyote got a reaction from Jeffry Abt in Once you have hardware, SUPPORT is what makes pro camera   
    Probably the most important thing for a professional camera is real support.
     
    Leica has great hardware but so much of the camera these days really comes down to software. They NEED to support the hardware platform over time with good solid software support. When bugs are found, they need to track them and fix them.
     
    I hope by by making this a professional camera with so many of its features targeted at the pro market,  they are building in the cost of long term support into the price of the camera. I really hope Leica understands that they can't deploy such a large portion of their software engineering team to the next product. They need to reserve a portion of them to current products and have them responding to customer feedback and fixing bugs.
     
  4. Like
    bencoyote got a reaction from Michael Markey in Outstanding bugs - Manual focus issue   
    One thing that I've found working in open source software for a long time is that there is the way that things are intended and expected to be used by the developer and the testing department which is often initially guided by the original software author. And then as you increase the number of users they have different ideas about how things should work and do things in truly unexpected ways. This leads to uncovering all sorts of new bugs. I don't know how many times I've gotten a bug report and I look at and think, "they are doing what? Does that even work?"
     
    Your way of shooting, MF with a quick succession of shots sounds seems very unusual. It sounds to me like just like that sort of problem that would be overlooked by the developer and a testing department.
     
    Good SW engineering/support would be:
    1) track the bug
    2) prioritize the bug
    3) fix the bug
    4) confirm the fix 
    5) add a test to the overall plan
    6) release the fixed firmware
     
    and in general release often with small numbers of changes seems to be the best way to catch unintended problems with a fix or a new feature and keeping customer satisfaction high.
  5. Thanks
    bencoyote got a reaction from martinot in Accelerated brassing   
    For anyone looking for that "old pro" look or to garner respect granted people in the Leica community who pull out a brassed camera, one that has the authentic look of years heavy use (not one of those pre-brassed faux Black Chrome" special editions). i seem to have inadvertently stumbled across a method of accelerated brassing which surprisingly rapidly begins to give your camera an authentic brassed look.
     
    The technique is actually quite simple. You run to a place where you are going to shoot while carrying the camera in a conventional backpack. It seems that friction of nylon while being gently jostled thousands of times while running to your shooting location gently removes the surface paint in all the locations frequently seen on the cameras of old pro's who have taken their Leicas to dozens of countries and shot for a multitude of magazines for years. 
     
    You too can project the image of being a old grizzled pro without having to go through the effort of actually having to travel to far away destinations and shoot in dangerous situations or go through the bother of satisfying clients or even having to edit through thousands upon thousands of pictures. You can just pull out your elegantly brassed Leica with aplomb take a few shots and everyone will know that you have captured the magic in the moment and that there is some greatness in those few frames you have captured.
     
    ;-) 
  6. Haha
    bencoyote got a reaction from Steve Ricoh in Accelerated brassing   
    For anyone looking for that "old pro" look or to garner respect granted people in the Leica community who pull out a brassed camera, one that has the authentic look of years heavy use (not one of those pre-brassed faux Black Chrome" special editions). i seem to have inadvertently stumbled across a method of accelerated brassing which surprisingly rapidly begins to give your camera an authentic brassed look.
     
    The technique is actually quite simple. You run to a place where you are going to shoot while carrying the camera in a conventional backpack. It seems that friction of nylon while being gently jostled thousands of times while running to your shooting location gently removes the surface paint in all the locations frequently seen on the cameras of old pro's who have taken their Leicas to dozens of countries and shot for a multitude of magazines for years. 
     
    You too can project the image of being a old grizzled pro without having to go through the effort of actually having to travel to far away destinations and shoot in dangerous situations or go through the bother of satisfying clients or even having to edit through thousands upon thousands of pictures. You can just pull out your elegantly brassed Leica with aplomb take a few shots and everyone will know that you have captured the magic in the moment and that there is some greatness in those few frames you have captured.
     
    ;-) 
  7. Like
    bencoyote got a reaction from M9reno in Thoughts on 90mm Elmarit f2.8   
    The APO Summicron is an interesting lens. It seems to be nearly technically flawless. One poster above suggested that it can have CA, without doubting him in any way, I'm going to say that I've never seen that. It seems perfect in every way to me. If there is a weakness, then weaknesses ends up being intrinsic in its application in the rangefinder concept and my own abilities.
     
    Leica photographers tend to work at human scale and they tend to work at the distance where you do need to focus a lens rather than rack it to infinity. There is kind of a feeling with Leica lenses where they are designed to be shot wide open. If you do that with the APO Summicron wide open then your depth of field ends up being so narrow that it may not be effective compositionally. You get things like the nose or ear out of focus problem. It can also be a challenge to keep it focused with just the subtle almost imperceptible movement forward or back that all human's make. So what you find yourself doing is stopping down a couple of stops.
     
    However when you step back and use it more like a wide angle lens incorporating context around your subject just from a distance then you have more depth of field but it becomes more difficult to focus because the fine details with contrast sufficient to focus are smaller in the viewfinder. When you are approaching the level of light where you want to use f/2 to keep your ISO reasonable, your eye begins to struggle to pick them out.
     
    So I find that the 90mm at f/2 is approaching a balance and tipping point where the fundamental limitations of telephoto photography and the rangefinder concept begin to break down. Both of those points when taken together really make me wonder about the actual utility of the additional stop of light gathering at f/2 over f/2.8 when used on a rangefinder.
     
    I feel like in some ways the APO-Summicron is the brother to the Noctilux, the epitome of optical perfection that lives right at the edge of what is possible within the rangefinder camera system, and just like the Noctilux for people used to lightness and compact design of RF lenses, it feels too big and heavy for everyday use (but in comparison to a SLR lens, it's not really that big.)
     
    As an educational experience, the 90mm f/2 is fabulous. It lets you step over the edge and into a frontier where sometimes things don't always work as you hope they would. And by doing so, you come to realize why you don't want to do that. For that I feel as though I've gotten my money's worth. I believe that someday down the road, I'll find myself buying the Macro-Elmar as a more practically usable walk around short telephoto lens.
     
    I want to end by saying I am in no way trying to damn with faint praise. I love the APO-Summicron. I just think it is worth considering some points above in light of your own photography.
  8. Thanks
    bencoyote got a reaction from a5m in Thoughts on 90mm Elmarit f2.8   
    The APO Summicron is an interesting lens. It seems to be nearly technically flawless. One poster above suggested that it can have CA, without doubting him in any way, I'm going to say that I've never seen that. It seems perfect in every way to me. If there is a weakness, then weaknesses ends up being intrinsic in its application in the rangefinder concept and my own abilities.
     
    Leica photographers tend to work at human scale and they tend to work at the distance where you do need to focus a lens rather than rack it to infinity. There is kind of a feeling with Leica lenses where they are designed to be shot wide open. If you do that with the APO Summicron wide open then your depth of field ends up being so narrow that it may not be effective compositionally. You get things like the nose or ear out of focus problem. It can also be a challenge to keep it focused with just the subtle almost imperceptible movement forward or back that all human's make. So what you find yourself doing is stopping down a couple of stops.
     
    However when you step back and use it more like a wide angle lens incorporating context around your subject just from a distance then you have more depth of field but it becomes more difficult to focus because the fine details with contrast sufficient to focus are smaller in the viewfinder. When you are approaching the level of light where you want to use f/2 to keep your ISO reasonable, your eye begins to struggle to pick them out.
     
    So I find that the 90mm at f/2 is approaching a balance and tipping point where the fundamental limitations of telephoto photography and the rangefinder concept begin to break down. Both of those points when taken together really make me wonder about the actual utility of the additional stop of light gathering at f/2 over f/2.8 when used on a rangefinder.
     
    I feel like in some ways the APO-Summicron is the brother to the Noctilux, the epitome of optical perfection that lives right at the edge of what is possible within the rangefinder camera system, and just like the Noctilux for people used to lightness and compact design of RF lenses, it feels too big and heavy for everyday use (but in comparison to a SLR lens, it's not really that big.)
     
    As an educational experience, the 90mm f/2 is fabulous. It lets you step over the edge and into a frontier where sometimes things don't always work as you hope they would. And by doing so, you come to realize why you don't want to do that. For that I feel as though I've gotten my money's worth. I believe that someday down the road, I'll find myself buying the Macro-Elmar as a more practically usable walk around short telephoto lens.
     
    I want to end by saying I am in no way trying to damn with faint praise. I love the APO-Summicron. I just think it is worth considering some points above in light of your own photography.
  9. Like
    bencoyote got a reaction from peterv in S-ADAPTER L on T   
    Yeah you're really going to need a lot of in-software correction to fix all those optical defects in those cheap S lenses when you use them on a high resolution camera like the T. I'm just sure the vignetting is going to be awful. ;-)
     
    Seriously though, I would find it fairly likely that the camera-lens communication protocol is going to be the same. More than likely the signaling protocol between the body and the lens was probably first invented for the S and then reused with modification for the T and then SL. So I think that shouldn't be much of a problem. What I would worry about are more subtle things like the maximum current that the body's battery will be able to deliver. Being able to slew the larger focus elements quickly may demand more current than the T's battery can deliver. I'm not saying that is the case but those are the kinds of problems that I would expect.
     
    I would first talk to Leica and then before I bought it, I would drop into a Leica store and try it out before I bought it. It would be kind of fun. Of course there would also be a lot of purpose shifting in the lenses. For example, your fairly standard 70mm suddenly will become a pretty reachy telephoto.
  10. Like
    bencoyote got a reaction from Letin in Thoughts on 90mm Elmarit f2.8   
    The APO Summicron is an interesting lens. It seems to be nearly technically flawless. One poster above suggested that it can have CA, without doubting him in any way, I'm going to say that I've never seen that. It seems perfect in every way to me. If there is a weakness, then weaknesses ends up being intrinsic in its application in the rangefinder concept and my own abilities.
     
    Leica photographers tend to work at human scale and they tend to work at the distance where you do need to focus a lens rather than rack it to infinity. There is kind of a feeling with Leica lenses where they are designed to be shot wide open. If you do that with the APO Summicron wide open then your depth of field ends up being so narrow that it may not be effective compositionally. You get things like the nose or ear out of focus problem. It can also be a challenge to keep it focused with just the subtle almost imperceptible movement forward or back that all human's make. So what you find yourself doing is stopping down a couple of stops.
     
    However when you step back and use it more like a wide angle lens incorporating context around your subject just from a distance then you have more depth of field but it becomes more difficult to focus because the fine details with contrast sufficient to focus are smaller in the viewfinder. When you are approaching the level of light where you want to use f/2 to keep your ISO reasonable, your eye begins to struggle to pick them out.
     
    So I find that the 90mm at f/2 is approaching a balance and tipping point where the fundamental limitations of telephoto photography and the rangefinder concept begin to break down. Both of those points when taken together really make me wonder about the actual utility of the additional stop of light gathering at f/2 over f/2.8 when used on a rangefinder.
     
    I feel like in some ways the APO-Summicron is the brother to the Noctilux, the epitome of optical perfection that lives right at the edge of what is possible within the rangefinder camera system, and just like the Noctilux for people used to lightness and compact design of RF lenses, it feels too big and heavy for everyday use (but in comparison to a SLR lens, it's not really that big.)
     
    As an educational experience, the 90mm f/2 is fabulous. It lets you step over the edge and into a frontier where sometimes things don't always work as you hope they would. And by doing so, you come to realize why you don't want to do that. For that I feel as though I've gotten my money's worth. I believe that someday down the road, I'll find myself buying the Macro-Elmar as a more practically usable walk around short telephoto lens.
     
    I want to end by saying I am in no way trying to damn with faint praise. I love the APO-Summicron. I just think it is worth considering some points above in light of your own photography.
  11. Like
    bencoyote got a reaction from IkarusJohn in I posted this on the M10 area but I'd like to let SL observers see it.   
    Agreed but I feel like the limiting factor in digital photography these days is not pixels or iso, it is dynamic range. That’s still one where big wells matter. The other one is sensor read out speed which affects AF, the refresh rate of an EVF, as well as video performance. I think that this is one place Sony (and maybe Nikon and Canon - I don’t know) did it right with the 7, the 7R, 7S for different types of shooters.
  12. Like
    bencoyote reacted to johnbuckley in I posted this on the M10 area but I'd like to let SL observers see it.   
    If one is in a position to own both, it's worth it.  Everyone will have different needs at different times, but for me, the M10 is the camera I use walking around cities, and the SL is the camera I use for landscapes and specific purposes, including portraits.  I love the freedom of walking out the door with the highly capable M.  And I love having a tool like the SL after 15 years of using an M exclusively.
     
    Both cameras have downsides, if not limitations.  The SL is a pretty big camera to walk around with.  The M lacks certain capabilities.  As a pair, they are awesome, and I cannot imagine foregoing one for the other, and pray I never have to choose.
  13. Like
    bencoyote reacted to Irakly Shanidze in Tripod Head for the Leica SL   
    This is as good as it gets: https://www.bhphotovideo.com/c/product/1175122-REG/gitzo_gh1382tqd_series_1_traveler.html?ap=y&gclid=EAIaIQobChMIioKQ--_n2wIVxsDACh0IzAyjEAYYASABEgJND_D_BwE&smp=y
  14. Like
    bencoyote got a reaction from helged in Dive Housing   
    I've heard that Subal has a dive housing for the Leica SL. http://www.subal.com/a445c98c2c1/Housing/UW_Housings/Sony_Leica/SL.aspx
     
    I also found that BS Kinetics can make one. https://bskinetics.com/?lang=en
     
    Has anyone tried either of these?
     
  15. Like
    bencoyote got a reaction from helged in Dive Housing   
    For this trip I'm taking an Olympus TG-5 with an Ikelite housing, and a GoPro Hero 6 with a SuperSuit. If I get notably more into underwater photography, I will look into one of those other two options along with the 16-35mm. I couldn't budget in all the additional gear for the SL for this trip. Plus with both of these, as you suggested I'll be making cheap mistakes.
     
    I also looked for something like the SuperSuit for the Leica X-U couldn't find one. To me that seems like a nice combination. 
     
    However since this is a question that may be answered by only a very few people in the world, I thought I would ask expecting it to linger for a while before I got an answer.
     
    I do think that the SL is potentially a good camera for underwater use. Its few buttons and simple interface should make designing a waterproof housing easier. My TG-5 has 9 buttons on the back, 2 on the top including the shutter, two wheels to turn and a zoom lever. The SL on the other hand has 3 on the top, 5 on the back, two wheels, the on/off switch and joystick. So fewer case penetrations than even a compact camera.
  16. Like
    bencoyote got a reaction from phongph in Any desire for a macro lens for the SL?   
    I for one wish there were one.
    I also wish there were focus bracketing when there is one because I can’t slew through the focal range as fast or accurately as the camera can.
     
    In the meanwhile there is the TL 60mm which may actually be advantageous due to the slightly larger DOF. The obvious cost is resolution.
  17. Like
    bencoyote got a reaction from Linford in Any desire for a macro lens for the SL?   
    I for one wish there were one.
    I also wish there were focus bracketing when there is one because I can’t slew through the focal range as fast or accurately as the camera can.
     
    In the meanwhile there is the TL 60mm which may actually be advantageous due to the slightly larger DOF. The obvious cost is resolution.
  18. Like
    bencoyote got a reaction from lx1713 in Dive Housing   
    For this trip I'm taking an Olympus TG-5 with an Ikelite housing, and a GoPro Hero 6 with a SuperSuit. If I get notably more into underwater photography, I will look into one of those other two options along with the 16-35mm. I couldn't budget in all the additional gear for the SL for this trip. Plus with both of these, as you suggested I'll be making cheap mistakes.
     
    I also looked for something like the SuperSuit for the Leica X-U couldn't find one. To me that seems like a nice combination. 
     
    However since this is a question that may be answered by only a very few people in the world, I thought I would ask expecting it to linger for a while before I got an answer.
     
    I do think that the SL is potentially a good camera for underwater use. Its few buttons and simple interface should make designing a waterproof housing easier. My TG-5 has 9 buttons on the back, 2 on the top including the shutter, two wheels to turn and a zoom lever. The SL on the other hand has 3 on the top, 5 on the back, two wheels, the on/off switch and joystick. So fewer case penetrations than even a compact camera.
  19. Like
    bencoyote reacted to tom0511 in Dive Housing   
    Interesting that there are options available. Personally underwater I use m43 (EM1), I feel better to not have $10k inside the housing, also there are macro and Fisheye options available. Also I find the larger DOF can sometimes be an advantage underwater.
    Sorry for not really answering your question.
  20. Like
    bencoyote reacted to Jeff S in Tape over big "LEICA" name on the front of the SL?   
    It's often just for a cleaner aesthetic, the same reason I prefer a black dot to a red one. Nothing to do with discretion, which has to do with the photographer, not the camera (except for LF).
     
    Jeff
  21. Like
    bencoyote got a reaction from AlanYWM in SL Lens Tally: What More do we Need?   
    I got a really nice shot of the moon last night with the 90-280 but I had to crop in a huge amount leaving me with only a 526x526 px image. Never the less it is lovely. This really does leave me wishing for something longer. I've also been doing a lot of birds lately and though the 280mm is good for the large well habituated shorebirds and water fowl that live next to the mult-use trail near my house, i still have to crop in a lot. Away from where I live birds are much harder to shoot with only a 280mm
     
    I guess that I could attach the SL up to an actual telescope or a spotting scope.
    Or I could get a vintage Telyt R lens. The Leica R-L adapter costs as much as the lens but I guess that I could get a cheaper Kipon.
     
    The point is there are still a couple gaps in the SL lens lineup.
    Macro
    Very long telephoto
    Some wide AF lenses.
    A wide TS (Tilt Shift) lens for architecture.
     
    None of these are impossible to work around and these special purpose lenses probably won't ever have the volume of general purpose lenses like a fast 50 or a standard zoom or telephoto.
  22. Like
    bencoyote got a reaction from dkCambridgeshire in SL Lens Tally: What More do we Need?   
    I got a really nice shot of the moon last night with the 90-280 but I had to crop in a huge amount leaving me with only a 526x526 px image. Never the less it is lovely. This really does leave me wishing for something longer. I've also been doing a lot of birds lately and though the 280mm is good for the large well habituated shorebirds and water fowl that live next to the mult-use trail near my house, i still have to crop in a lot. Away from where I live birds are much harder to shoot with only a 280mm
     
    I guess that I could attach the SL up to an actual telescope or a spotting scope.
    Or I could get a vintage Telyt R lens. The Leica R-L adapter costs as much as the lens but I guess that I could get a cheaper Kipon.
     
    The point is there are still a couple gaps in the SL lens lineup.
    Macro
    Very long telephoto
    Some wide AF lenses.
    A wide TS (Tilt Shift) lens for architecture.
     
    None of these are impossible to work around and these special purpose lenses probably won't ever have the volume of general purpose lenses like a fast 50 or a standard zoom or telephoto.
  23. Like
    bencoyote reacted to Irakly Shanidze in External power for SL?   
    It is essential for video, and I wish SL had USB-C. While in most cases having three fully charged batteries and two chargers will do the trick, it is the absence of an external power option that makes me pass on assignments like long concerts, conferences, etc.
  24. Like
    bencoyote reacted to lx1713 in External power for SL?   
    External power is not needed by most people but important. I will never say no if the system provided for such an option particularly if it's non proprietary like a USB-C port.
  25. Like
    bencoyote reacted to gvaliquette in SL Lens Tally: What More do we Need?   
    APO-Extender(s), 2X and 1.4X!
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