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About Jager

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    Erfahrener Benutzer

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  • Location
    Northern Virginia, USA
  • Interests
    Photography, Printing, Motorcycling, Hunting, Fishing, Shooting, Computing, Chess, Amateur Radio
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  • Hobbies
    Motorcycling, Bicycling, Hunting, Fishing, Photography, Writing, Amateur Radio
  • Job
    Freelance Writer, Photographer
  • Your Leica Products / Deine Leica Produkte
    M6, M7, M8, M9, M-Monochrom (CCD), M246, M10, M10 Monochrom

    28/2.0 ASPH, 35/1.4 ASPH, 50/0.95 Noct, 50/2.0 APO, 50/1.0 Noct, 50/2.0, 75/2.0 ASPH, 90/2.8

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  1. Capture One's perpetual license is exactly like the licensing one got with Adobe Lightroom or Photoshop, back before those programs went to a subscription model. You have to purchase each major release (with, typically, a discount for current users who are upgrading). Minor maintenance releases are free. Capture One also gives you the option of a subscription model, if that's what you prefer. Those licensed for that (and thus paying every month) receive every release, major or minor, as part of the subscription. The benefit of the perpetual license is that a user can evaluate the
  2. Desktop photo printers up to 17" are relatively affordable and are the size most typically found in home studios. If you need/want to go wider than that (as for your 20x30") then you'll end up stepping up to very large, very heavy, professional-grade printers and paying quite a lot more. Those printers also have considerations that warrant far more research than the answers you're going to find in this thread. Epson has long been the dominant manufacturer with respect to photo printing. They have announced the successor to their P800 mentioned above. Their new P900 will ship in the ne
  3. Photograph of the M10-Monochrom... taken with the M246
  4. Different metering modes, different focal lengths, and different clipping thresholds could all cause what you observed.
  5. Your post prompted me to double-check my own RRS plate fit on my M10-Monochrom. Mine fits perfectly. My plate was from RRS' first production run, shortly after the M10 was released. Sorry (and surprised) to hear that they're not planning on continuing that plate in their catalog, as I would probably buy a second copy at some point (on motorcycle trips I typically carry a color M in addition to my Monochrom and its convenient to have them both ready for a tripod).
  6. I suspect the thinner-is-better refrain is something you mostly hear from longtime Leica M users... as the thickness of the M body remained essentially fixed for many, many decades. You use something for a long time and you get used to it. Certainly that's the reason many of us rejoiced when the M10 finally returned to what we consider the "right" dimensions. I can see how the fatter size of the M8-M9-M240 generations might appeal to many, especially if they weren't part of that earlier history. And, as you mention, the bigger battery can be an advantage. But I'll take the correct (fi
  7. Congrats on the soon to be M10-M! If owning one Monochrom is special (and it most indisputably is), owning two must be special-squared! 😉
  8. M10M, without question. The three Monochrom models have been interesting in their hardware evolution... tracking the same ergonomic/feature improvements as their mainline, color counterparts. But equally as intriguing have been the changes in their file characteristics. Files from all three generations are quite astonishing. And, notably, files from the M9M still hold up remarkably well, all these years down the road. But, no, they don't compare with the incredibly rich, robust files you get from the M10M. Those are more akin to what you - previously - had to go to digital medium
  9. And you think you're going to see much difference in a 100K jpeg, rendered on a web page? Seriously? I own all three Monochrom's. I've made tens of thousands of images with the first two. I've made far fewer images with the new M10-Monochrom, of course. But the first few dozen were all it took to understand how the files compare to its illustrious predecessors. All three Monochrom models are very special cameras. An owner of any of them can congratulate themself on having an incredibly powerful black and white imaging tool. But make no mistake... the files from the M10-Monoch
  10. That would be an emphatic 'no.' I think a case can be made for keeping an M9M alongside an M10-Monochrom. The files are sufficiently different. But the M10-Monochrom provides a similar ergonomic experience to the M246. And while the M10-Monocrhom files are notably and indisputably better than those from the M246, they share the same look and feel. I view the M10-Monochrom as a markedly improved M246. So, no, if you dismiss the Movie function of the M246, seems to me it becomes a tougher thing to rationalize keeping them both.
  11. Aye, the cognoscenti tend to be dismissive of the video capabilities of the M246. And serious videographers didn't (don't) think much of its capabilities in that regard. But of all the features that might impel me to hold on to my own much-used and much-loved M246 (I also own the M10-Monochrom and the M9-M... so there's something of an embarrassment of riches), that quirky little 'Movie' feature is at the top of the list. One can color grade in Final Cut Pro or Adobe Premier, of course. But much like there's something ineffably rewarding in producing "pure" black and white stills..
  12. I very much like the Visoflex 020 as an adjunct to the camera's rangefinder. As already mentioned, it's invaluable for precise framing and precise focusing. It's also very helpful when you're in a situation with known focus shift - such as when using a dark red filter. For street shooting it also has the subtle benefit when flipped up (so that you're above the camera, peering down) in that people tend to not realize that you're taking their picture and go on with their business. And used the same way (flipped up), it is invaluable for getting down at ground level. I've never heard
  13. Bear in mind that if you're not using a RIP - a Raster Image Processor... but are printing directly from Photoshop, Lightroom, C1, or any of the other "conventional" editing programs - once you're feeding the print driver its native resolution (360 PPI for Epson printers; 300 for HP and 300/600 for Canon), you'll not get any additional quality by bringing a bigger file. That bigger file will allow you to print larger, at the same qualitative level, but it will not give you more detail, better tonality, or any of the other characteristics we like to point to as making a print "better." So
  14. Wow, you're jumping through some hoops! I love my iPad Pro as a consumption device, but its lack of any kind of robust file handling makes it a poor choice as the central act in any kind of regular post-processing workflow, IMHO. My workflow is... 1. Remove SD card from camera and download all files to computer. They all go into an appropriately-named folder, e.g. "2020 Feb 28 - Tyler Wedding." All that happens at an operating system level. 2. Fire up Capture One Pro 20, create a new session with an appropriate name (typically, the same name as the folder I just dumped all t
  15. Everyone should do what makes them happy. And we should all be delighted that there is enough interest in Leica that they're able to continue putting out amazing cameras and lenses. That said, there's something terribly ironic when technical judgments of high-end photographic equipment are made when the reference medium is a small jpeg rendered on a web page somewhere... for that medium is largely incapable of displaying the nuance that is at the heart of what we paid for. Frankly, if jpegs on a web page is our scientific measuring stick, any smartphone of the last half-dozen years will
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