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DadDadDaddyo

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    mplkn@outlook.com
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    mplkn@outlook.com

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  • Gender
    Male / Männlich
  • Location
    State College, PA
  • Country
    USA

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    State College
  • Your Leica Products / Deine Leica Produkte
    IIIc, IIIg, M4, R8, R9, SL(601), SL2, M246 Monochrom, M10 Monochrom

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  1. Yes indeed, I'll sometimes print with a 22" image size on the short side of the frame. But I've found it takes the right kind of image to work at, say, the ~ 24"x36" scale. Certainly, it's about viewing distance, but not only. If the picture is strong enough (I know, that's not well defined) that it has an impact from across the room, then perhaps it will do well as a large print. On the other hand, simply making a print that large will not artificially infuse it with that kind of impact; it may merely look silly, or worse, pretentious. I remember running into a platinum print by Edward Westin of a nude I'd seen reproduced in books many times. it was a contact print, and tiny, perhaps 6 x 9 cm. But matted and lit, it glowed like an absolute jewel. I'd never had any idea the negative was that small, yet even as a contact print, its impact was huge. It demonstrated the perfect conjunction of subject, lighting, and total mastery of craft. Like being taken to school. So, yeah, I tend to be cautious about print size, and of the measures I take to command the eye. Bad music is bad enough, but played loudly, it's worse.
  2. I have a Canon 24 inch printer, so the art show pictures I print are generally in the 16x20-ish family. High resolution images permit me some framing latitude, if needed. though I usually print close-to the full image. With an SL2, an M10M, and a Fujifilm GFX100S, it's nice to have it to fall back on, but for the most part the resolution of the images from these cameras simply disappears as a factor in my thinking. Even with the M246 and the original SL (which I keep as backups) resolution at this print size has not been an issue.
  3. Currently in the L mount I have three Leica zooms, the 16-35, the 24-90, and the 90-280. In primes I have the Summicron-SL 50mm f/2, and the Summicron-SL 35mm f/2. These are all wonderful lenses. The lens I'm itching for the most is the Summicron-SL 90mm f/2. 90mm is a favorite focal length for me, ever since the olden days with the 90mm f/4 Elmar. which I have both in screw mount and in M mount. When the right opportunity arises, I'd also like to get hold of the Summilux-Sl 50mm f/1.4 as well. The Summilux-M 50mm f1.4 spends a great deal of time on my M10M. At the risk of over-repetition, these are all simply wonderful lenses! Though I also work in medium and large format, these lenses (and the M lenses I use) are truly at the center of my photographic life. They provide the answers to most of the photographic challenges I place before myself.
  4. If I'm telling the truth, and with you lot I must, when it's critical focus time on the M246, I reach for the EVF. Mind you, I love the mono output of my SL2. But I still reach for that M246 an awful lot. Maybe because of the time 'n miles spent with rangefinder Leicas. I'm about to get an M10M, finally, Lord help me, after putting it off, dithering, rationalizing for and against, and ultimately realizing the decision comes down to the fact that I will use it, lots and lots. I bet I'll make some of the best pictures of my remaining lifetime with it, and that's a cheery thought! But the electronic viewfinder, what, the 020? That'll be the first accessory I buy. So that's practically a Mono SL2 (right?), but without the rangefinder and image stabilization. Whether they bring out an SL2 Mono, or whether they wait and one day bring out a 60 megapixel SL3 Mono, or M11 Mono, I'll be there. And yes, I'll buy. I'd love to see how those SL lenses really look! And I can't wait to haul out my antiques, the LTM stuff and the early M stuff, and try it on a modern, high-res sensor. You wouldn't believe how good even the ancient, beater 135 Hektor I've got looks through the M246! I remember my Dad screwing it onto his IIIg (which is right here with me still). This is the "Keeper-est" bunch of gear I've ever encountered in a lifetime of photography!
  5. That's the truth. Here I go again, only I've already got the 90-280. Amazing, absolute never-part-with lens! It's the M Side's turn this time; I'm finally adding an M10M to the M4 and M246... I hope my kids will carry on someday.... Training 'em to....
  6. Well, as usual, I'm late to the thread. But I want to chip in; I'm a long time Leica user (50+ years), an SL and SL2 owner (along with a nice set of wonderful SL lenses), and an owner and enthusiastic user of Fujifilm medium format, owning the GFX50R and the GFX100, along with almost all of the GFX lenses (everything but the 120, I think). I still shoot Leica 35mm, as well as a Monochrom, too, so I still keep a stable of Threadmount and M-mount lenses as well. I'm blessed with a rich abundance of optical assets. I use and love them all, so I feel I'm in a position to comment. First, and truly foremost, a system revolves around, and is defined by, lenses - not bodies. Lenses outlive bodies, by a long shot, and especially nowadays. What makes both the SL system and the GFX system amazing is the glass they have put in my hands. I keep the lenses and gradually swap out the bodies. I think of the process as revolving around putting the body on the lens, not the other way around. Landscape, for example. Pick the lens for the scene, then put a body on it that'll capture what you want at the resolution you require. First the GFX system: The GFX100 is a workmanlike body. It's nobody's handling pride and joy, but it's great as a set piece on a tripod, and reasonable smooth handheld, thanks to the image stabilization (although if you really want all that resolution, you really need to park it). The GFX lenses aren't even breathing hard or popping a sweat at 100 megapixels. They've got resolution to go, and I'll bet that Fujifilm's got more bodies in development. They produce truly gorgeous images. The lenses have defined the system for me, and the GFX system is a great offering to the craft of serious photography. Fujifilm's regular release of promised lenses for the GFX system has been a very impressive thing to watch. They release them, I buy them. In a fairly short time, I've built the best wide-ranging, comprehensive suite of lenses for medium format I've ever seen. In every respect they stand alongside the giants of medium format like Zeiss's offerings for Hasselblad (of which I also harbor a few examples for times I feel like shooting 120). This is great, great glass. Now the SL system. Of course, I started with the SL and the 24-90, because that WAS the system. And, it was almost enough. The SL plus the 24-80 really might be the only thing a photographer would ever need. (Just like the M body plus a 35 (plus maybe a 50, and maybe a 90)). The first prime, the 50 f/1.4, was a phenomenon. I craved one, but didn't buy. Then the Summicrons started appearing. Then the SL2. Well. The SL2 plus any of the SL Summicrons simply wipes up the floor with any of the GFX bodies, with any of the GFX lenses, when it comes to handling. I have the 35 and the 50, and they're glorious on the SL2. Such an abundance of splendid tools. I've decided not to choose. Ok. If forced to let them all go but one, l would be hard-pressed to arrive at any decision more, or less, defensible. All the choices are that good. There are areas of specific strength. The Fujifilm system is physically large. The lenses are big. I find the GFX system unmatched for landscape. But, if forced to select a single all-arounder; if they said, "Pick the body and lens that will be the only ones you can keep, forever," the only choice, in the end, would be the SL2, paired with the 24-90. Give me those and I'll feel ready for anything.
  7. A wonderful presentation. I'm grateful to have been able to see it.
  8. I agree with Mick H. The 24-90 is a lens to hold on to. My "other" camera is a GFX100 (complete with 30 pound bag of lenses, or at least, it feels like). The SL2 with the 24-90 is a breeze compared to that. I've used it frequently for full-day "walking around" where its flexibility and the freedom from carrying a bag of lenses made it ideal, able to handle just about anything. Compared to the M with a prime, sure, it's more of a hand full. Compared to any medium format body, analog or digital, it's equivalent or better, and the results are extremely convincing. I've learned to carry it by the lens resting in the left hand; the left hand bears the weight, the right operates the body. When that's simply too much, or when I know what I'll encounter, or it's simply a prime situation, I put one of the SL f/2 primes on it (50 or 35, so far) and am amazed by the lightness and handling. But, as a tightly integrated powerhouse package, the SL or SL2 paired with the 24-90 has proven to be a persuasive solution, at least for many of my use cases. YMMV and all. Just my sentiments. I can understand folks saying it's too much, and for some things, it sure would be. Dangling off my other shoulder is the Monochrom with a prime, and it's practically weightless. Good days, these.
  9. At this point the differences between the SL and SL2 do not seem significant enough to fork the groups. From a Information Science perspective, there's a lot of justification for classifying by lens mount (available adaptation notwithstanding). The goal of any such information classification or grouping (again, from an I.S. perspective) is to facilitate retrieval. Not time to split yet... Stay well, all! Dad... Dad... Daddyo
  10. Thank you for this. A question, as one who had thought about trying a power bank. From the steady, rather than falling, current level can we conclude that the camera is both operating and continuing to charge? Or rather does it mean the camera has switched from charging to operation? In another post I read that the charging must be initiated first, with the camera switched off, for the charging to continue after the camera is switched on. Does that align with your findings? Again, thank you for exploring this. I'm considering the use of a power bank for extended sessions.
  11. Thank you for highlighting this process. I put in my request for a printer copy of the manual today. Meantime, I've put the PDF on my Kindle e-reader. My Kindle had almost as many manuals on it as it has books! Better screen size than the phone (though the phone is always there), better reading experience than the laptop (though the laptop's screen is bigger). You can side-load with a cable, or email the document to your Kindle account. Amazon does some processing in the cloud, pushes then the title onto your device. Then, you download the full file over wireless, just like a book. Takes seconds. What's emerged over time, I've found, is that screens are like lenses, in that a given screen is optimal for particular use cases, even given the same content. Anyway, if you haven't, try manuals on the e-reader.
  12. Ah, but what a lens cap! I had a college prof who drove an ancient Mercedes diesel. Somehow his oil filer cap got lost and he had to order a new one from Mercedes. He ranted to us for days about the price of that oil filler cap he had to order. The day after it arrived he came in and said, "I have to tell you: that's the most beautiful oil filler cap I've ever seen! You just can't believe how smoothly it screws on, so precise, so perfectly machined, it's certainly the king of all oil filler caps!" Product satisfaction can come from the most unexpected quadrants, I guess. The Pacific Rim knock-off caps will work just as well in keeping the dirt out the hind end of your SL lens too. I try to keep a couple of extras in the bag - it seems I'm always one short...
  13. This makes sense, given the OIS in the zoom and the IBIS in the SL2. The 24-90 is just so darned good, however, that if circumstances recommend a single body/lens combination I'll gladly put it on the SL2. The 50/SL2 combination is for those times when the intentional choice to work and walk with a 50mm perspective overrules the convenience of a flexible focal length, or, when having to mess with a variable focal length might take away from, rather than add to, the photographic experience. Sometimes what seems like a limitation can be a simplification. That's why sometimes the right choice is just the Monochrom and the 50 Summilux... That's just for this old curmudgeon. Anyone else's preferences should rule for them.
  14. SL2 at B&H has read "Coming Soon" for quite a while now. But, maybe it really will be pretty soon now. Also waiting on a Fujifilm GF 45-100mm, pre-ordered practically the moment it was possible to do so. That's supposed to start shipping 2/27. I want patience, and I want it now...
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