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About Slender

  • Rank
    Erfahrener Benutzer
  • Birthday 03/02/1991

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Profile Information

  • Gender
    Male / Männlich
  • Location
  • Interests
    Photography - Cinematography - Painting and Fine Art History - Geography and travels.
  • Country
    United Kingdom


  • City
  • Hobbies
    Cinema - Walks - Hikes - Street Photography - City Escapes
  • Job
    Photographer - Audiovisual Specialist
  • Your Leica Products / Deine Leica Produkte
    SL2 - 24-90. R7, M4, M7, M9. 21, 35, 50, 90.
  • Website

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  1. To be honest most M digital will stuggle to go above the 10-20 000 clics marks, not beacause they can't be because most "owners" are just owners, not heavy users. Mine went well over 100 000 in 6 years. I sold it for a really good price and it paid for itself nicely in both income and joy to use. I bought it second hand from 2800 shots taken by the previous guy over a 5 years span. I really believe, once the sensor issues of an M9 are overcome, you should be able to enjoy it for years and years. Batteries (that you can replace) are most likely to give up, yes, and the rangefinder ca
  2. Because it is suuuuucccuuuulent. Summicron's can be a bit dry across the M-R-SL ranges, sometimes.... personal opinion.
  3. What on the top of the model's head/hair in image 1/2 ? Looks like masking.... or a white window frame out of focus appears to make some halo just on top of her? If you fancy, like many other cinematographers, some sexy R glass, here are my recommandations for you: Elmarit 19VII Elmarit 28 VI or VII, both perform lovely. Elmarit 35. Summilux 35. Summilux 50 e60. Macro-Elmarit 60. Summilux 80. Elmarit 90. Summicron APO 90. Macro-APO-Elmarit 100. APO 180 f3.4. APO-Elmarit 280, any version.
  4. That's why I used IMHO, partner. "In My Humble Opinion" , as to avoid summoning (((people pulling out))) Wikipedia links or terrible E.Puts words salads on the table 😅. Sometimes I can't honestly distinguish between 35 or 50mm shots, whereas past 28 and below, you can tell straight away in most cases.
  5. 21 f3.4 🙃 or 18 f3.8.... 35 doesnt count as "wide" IMHO.
  6. This is old... this guy is like a VIP amongst VIP at Leica Switzerland (he is one of the lucky 100 owners of a Silver Noctilux 1.2 and other exotic treasures..... good for him1) and he probably got one of the very first cameras even before it was officially released..... If you follow his feed he I believe he said all this was fixed in the meantime. I have done a couple of minute long exposure, with or without NR, and no such extreme issues for me.
  7. also one of the reasons he is a terrible photographer lol.... but heh that's not meant to be his field of excellence... same I wouldn't dare give him "commandments" about lens design... Anyway. Has any lucky owner of a BC 50 1.4 ever successfully attached HOOD + Filter? Could a very skinny e43 B+W uv one be fitted after the hood has been slotted in place, like Overguaard suggest he does in his review video of the lens?
  8. Well, stopped down at 16 it is indeed nearly circular. What you want is also an odd number of blades (9) for nice sunstars. For the 50 1.4 asph, its the very same aperture architecture (number of blades, shape, diameter) as the M 90 2.8, and both have superb, extraordinary bokeh. Circular blades have more influence on the forms of bokeh balls.... not necessarily the whole aspect of the out of focus area...
  9. Most Cine lenses (from mid-leven Canon CN-E to high-end north of 25k ARRI ones....) have this feature as well. Now that you mention it I do remember it very well on my first Leica (R) lenses when I started out with my dad R7.
  10. Leeeemeeeee guess: Pana or Sigma lens?
  11. But it's selling, right? Before someones say "dUh whERe arE aLl tHoSE SECond hANd onEs frOm THen?"
  12. 😅 for advices about matching cameras for video in an NLE, please wait for the wise science of Hans, maybe... I have less age/wisdom/experience for multicam work as my background is either fiction or high-end docs film shot on (1 type) of movie cameras (film/digital). I am essentially an AC/Aspiring DOP/Stills_Unit_On_Set with much of my background in the shooting phase of the production, not post-production.
  13. in FCP, Make sure LIBRARY is set to Wide gammut color space. Set your PROJECT to which ever output setting you want for you L-Log to come out, just be aware of selecting the good options (Input-Output -the latter should be same as your timeline and export, logically) for your clip.
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