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hansvons

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  1. It’s not like that necessarily. Specs matter, also in terms of creative potential, but focus roll-off, colour rendition, contrast, dimensionality (the lack thereof can be needed by times) and flaring are more important to me. In that regard, if dimensionality matters to you, the 24-90 plays in an own league, so does the Canon 28-70 f2 in a very different way. Other than being zooms I find hardly common ground of the two. The 28-70 renders pretty flat (in 2019 I had it a few weeks to my disposal). I need that from time to time for portraits but use for that a 50mm Summicron R from the eighties
  2. A new tool rarely uplifts the craftsmanship. The technology race can never be won by Leica, due to their missing R&D resources in electronics and IT compared to the big Japanese manufacturers. But Leica is exceptionally good at soft facts such as colour. The R3 won't give you better colour, on the contrary. But colour is THE camera's virtue, at least for me, and the reason why I bought the SL2-S. And because you don't to sports and other journalistic stuff that deals with fast moving objects, the R3 isn't for you anyway. IMHO, there's nothing to see for Leica folks.
  3. @RBB Nice portrait! Your images are pretty desaturated (not that I dislike that), but I'm wondering how you find the Leica SL2-S' colours compared to the S5's colour rendition?
  4. True. And I own the SL2-S. But for landscape photography the SL2 is the better horse.
  5. I forgot to mention the reason why I chose the SL2-S. It's the colour. And the handling. And the solidity of the design. But If I sold it, I'd miss the colour most.
  6. That's a first sign of some tiny, innocent GAS. You will be selling the Panasonic stuff soon. And then the Leica buying frenzy will begin. Be prepared. --- Last year I sold most of my cine camera gear and acquired considerable cash. But I kept that cash, didn't buy new gear but rented. That way, I got myself some time (roughly a year) to make a solid plan of what kind of gear I really need to do my job. In the end, I ended up with an SL2-S, the 24-90 and an old Summicron 50mmR, 4 batteries, 2 256GB SD cards, and an ND filter, plus a Capture One subscription. This setup does everything I n
  7. @LBJ2 Well though-out video. Thanks for sharing!
  8. Sound advice. On the SL2-S I use mostly ISO 800.
  9. This is right, of course. But I want to point out that the SL2-S shows only in AF-C a mediocre performance. In any other mode, it does what one expects an AF to do when it was 2018. So what you get is a solid AF that doesn't leave questions when shooting portraits in action, plus the fabulous Leica colour and all the other merits that come with the brand. BUT, if you want to shoot birds in flight or fast sports action, get the flagship of one of the Nippon manufacturers. AF is their domain, and no one comes close to what Canon, Nikon and Sony (A1 is supposed to be an AF monster, so is the R5,
  10. Without evidence and deeper insight into the design of camera raw files and raw importers such as C1 or Lightroom, I think the following is the case: Despite the fact that demosaicing/de-bayering is an algorithm that transfers via a Bayer pattern B&W data to colour, I have the impression that the camera manufacturers have a decisive say in how that has to be done. Otherwise, there wouldn't be on the colour side such visible differences between a Nikon Z6 and a Leica Sl2-S or an Arri Alexa and a Red Monstro. Somewhere in the pipeline, the camera manufacturers have their secret source,
  11. I do not own the SL2, but I've shot thousands of snaps with the SL2-S, plus a few video projects. As advertised, the SL2-S is an ideal hybrid camera for journalistic work when you want Leica colours. For the full Leica experience, the 24-90 is the journalist's perfect companion for the SL2-S: Leica dimensionality and sharpness, plus a fast AF. I think Leica nails it when they state: "Following the footsteps of the Leica SL2, the new Leica SL2-S enables photographers and videographers to achieve the legendary Leica look in a fast and capable camera without compromise. Combining a ne
  12. If possible, grade up to the 24-90. It‘s an unique Leica lens with everything that makes Leica special: dimensionality, sharpness, focus fall-off and the missing compromise on keeping the same f-stop on all focal lengths. What‘s more, the 90mm long end is particularly useful. I had worked with the traditional 24-70 competition from Canon am Nikon. The 24-90 is in another league. Seriously.
  13. There is no TC-in comparable to what one is used to with professional cinema cameras. However you can use Tentacle sync (I believe there are others too) which writes TC on one of the two audio tracks. The camera writes its own TC selectable as free run or record run. TC time can be camera time or manually selectable.
  14. I've been contemplating this topic for half a year now. Along with the SL2-S, I was thinking of getting a Q2 for quick snaps, or maybe a 35mm SL because I hear it's one of its kind. I was marvelling at the Summilux 50mm SL's IQ and character (and still do) and was thinking of getting a CL2 (when it will be available) with a vintage M Summicron 35mm (viable option for a pocketable camera). But after a few projects I've realised with the SL2-S and the 24-90, I figure this combo offers everything a photojournalist may need. Fast working pace, reliable AF, impressive IQ even in ridiculous lo
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