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hmathias

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  1. I have always shot my Leica M10 in manual exposure mode, sometimes with the EVF. I always set my exposure way before shooting a picture. Having not used the M11 yet I am not sure how this camera will respond. Can anyone tell me what effect this method will have on shutter image latency with the M11? Thanks!
  2. There are no mistakes in photography not if the images work for you. Hmathias
  3. In this day of Independant chip fabs Leica doesn’t need any partners to supply their sensors. They simply need in-house chip designers and they must have those on staff. They needed chip designers to design their Maestro chip. This is what Apple is doing with apple silicon. hmathias See my work at: HarryMathiasImages.Com
  4. Hello All, I am very impressed with the specs of the new M11. I trust Leica to improve their performance with ever new camera. I have seen massive improvements on every M series camera from my old M9 to my current M10 and SL. I know quite a bit about camera sensor technology from my use and study of digital cinema camera sensors. But, sensor backside illumination (BSI) is a new technology to me. I would like to know more about it. Thanks! Some of my work is on: HarryMathiasImages.com
  5. When the leading digital cinema motion picture camera manufacturer ARRI had to make this decision with their industry-leading ALEXA camera, they chose High Dynamic Range sensors (14 camera stops) over resolution and kept the native chip sensitivity at EI 800. When they wanted to increase resolution, they also made the sensor chip larger and added the ALEXA LF camera to their lineup. I trust that Leica will make the same prudent judgements. They never chose big numbers over image quality. Harry
  6. Higher noise, unfortunately, is a byproduct of higher sensor resolution. Given the same imager dimensions, the smaller the size (higher density) of photosites in a high-res sensor means that less photons impact each site. This reduces the quantum efficiency of the light-to-image signal transfer. Higher resolution sensors — baring new technological breakthroughs — have more noise, are less light sensitive and usually exhibit harsher gray scale reproduction. Sorry, but that is physics. Harry
  7. Yes image format and maximum image blowup is considered as two of the main considerations when choosing CofC.
  8. Actually, it is well-known that DoF is a mathematical formula with the main variables being f/stop, lens focal length, and object distance to the point of lens focus. But there are 2 other variables that must be taken into account, diagonal of the final image (image format). That is why a medium format lens (or an 8x10 view camera lens) must have a smaller DoF than a full-frame 35mm image. The other variable is maximum permissible "CofC". This is a variable that tells the DoF formula what the maximum permissible size of the out of focus “circle” that will be tolerated before the image is considered out of focus. The mathematics of the DoF formula needs to be told what size a "pinpoint" of light can be in the final image before it is considered too soft to be in focus. How large the image will be blown up to is the most important factor in choosing CofC. TV comercials use a larger CofC than Movies shown in Theatre use. Greater lens contrast does make more of the image appear in focus to the viewer, hence Leica's SL 35mm ‘higher contrast for greater visual depth’ concept.
  9. No, in the long run, subtle artistry is the best part. But, I conceded that many of my students would agree with you. (subtle needle with no hostile intent).
  10. That’s actually pretty straight forward: a 40mm anamorphic lens has the DoF of a 40mm lens but the horizontal coverage of a 20mm lens, plus the height of a 40mm lens. Plus it produces oval “circles of confusion” and you can’t throw focus without making the audience motion sick. See my my still photography and some motion picture reels at: HarryMathiasImages.com
  11. In addition to the factors mentioned, lens DoF depends on the “circle of confusion” factor used to compute the DoF tables (or lens barrel engravings). “CofC” gives the diameter of the maximum allowable out of focus “circle” that will be tolerated before the image is considered out of focus. Theories of what this should be could vary between lens design generations. For example, in motion picture applications we use smaller CofC than still photography because motion picture images are blown up much more to be shown on theatre screens.
  12. My 21mm SEM f/ 3.4 is a superb lens with no issues at all, ever. It has been my experience using dozens of extremely wide angle lenses in my Cinema work, (and many of these lenses are even more expensive and exotic in design then even the Leica 21 mm SEM F3.4 lens). Typically in cinema we don’t care what these lenses cost as long as their performance is superb, because we rent these lenses for the duration of the film project, and we don’t buy them. Most of the finest extremely wide-angle lens designs do not have a very large maximum aperture, compared to the higher focal length lenses. This is because extremely wide angle lenses usually exhibit curvature of field, and if a very fast maximum stop is used it is very difficult for the lens designer to maintain a flat field with exemplary sharpness through out the image. I actually prefer the 21mm SEM to the (more expensive) Leica 21mm f/1.4 SUMMILUX-M for this reason. While the “depth of field” of a wide angle lens (the area and focus in front of the lens) is very wide, the “depth of focus” (the area of the image that is in focus at the image plane is very narrow, creating this problem). Owning a 21 mm 3.4 SEM lens for years, I have found no finer wide angle lens at any price that this lens, by every measure possible, and I have never minded the slightly slower aperture than my 24mm or 35mm lenses. Some of the finest pictures on my combined still and motion picture website are taken with the SEM: https://www.harrymathiasimages.com
  13. Remember, Ansel Adams was using an 8"x10" view camera. It was easier to move the van then the camera. Harry
  14. The 21 SEM f/3.4 is a fantastic wide lens that I frequently use in situations where I wouldn’t use any other wide lenses, because it has no distortion to speak of. And it’s reasonably priced, for a Leica lens. there is a thread here of Ulta-wide M lens pictures and all of the best are taken with the 21 mm SEM.
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