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Etruscello

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    Erfahrener Benutzer
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  1. DAG modified the shroud of my 35mm pre-asph to allow infinity focus, but he did so in a way to protect the rear element when placed downward on a table. The shroud is only partially shaven at points to allow infinity focus and partially still extending beyond the rear element for protection. The lens can rest on 3 prongs. Tom
  2. I have owned an M-E and came to dislike the grey metal finish. To me, it seemed to cheapen the camera’s overall appearance. I wonder if this new grey camera reincarnates the M-E finish. One thing in favor of the M-E was that it was cheaper than the M-9. As I estimate it, this new grey camera may be twice as expensive as comparable off-the-shelf equipment. I’ll pass. Tom
  3. This is the perfectly accurate conclusion on this topic in my experience. Tom
  4. Of course it is true that photographers set exposures, not cameras, but should not the photographer expect any camera to provide a starting point that is balanced, I.e., does not excessively clip highlights nor block detail from shadows? The more “biased” a camera’s initial exposure is, the harder the photographer must work to find his or her’s sense of correct exposure, possibly leading to missing a critical moment. I do not know if the M10 does have excessive bias in this sense — I do not own one — but hearing freely from owners on camera exposure issues is valuable for a future purchase decision, especially with the M10-P now announced. Tom
  5. Thank you for the advice, Jeff. Your Rivendell image illustrates it well and is beautiful. Tom
  6. Here is one more example (Brice National Park):
  7. Here is an example (Zion National Park), of my settings specified in my note above:
  8. Agree. I enjoy my M8.2 for use in low light often at ISO 800 pushed with exposure compensation at -2/3. It gives the look and feel of Kodak Tri-X grain. Tom
  9. Wow — two of the best MMI shots I’ve seen! They evoke a spiritual mood and a technically fine tonal range reminiscent of Adam’s Zone System. Tom
  10. I agree, tonal is more dynamic on the new Mono I sensor, but I do not think it was ever unmanageable on the old senor. I often liked the beautiful effect I had gotten with the old sensor with exposure set to -1 and The Photoshop Raw shadow detail slider set to maximum — very useful for landscapes with many specular highlight areas and dark shrubbery. If you want more consistently good dynamic, consider trading your I for a II, but you may miss the over brilliant effect the Mono I gives — especially with the new sensor. Good luck in Assisi. Tom
  11. Wilfredo, Were I you, I’d contact Customer Care in N.J. and explain your situation as sincerely as you have here. Ask them to try to help without making any demands. Tell them of your confidence in them. I think they will respond helpfully and quickly. You have nothing to lose — good luck. Tom PS Assisi has been a top highlight of my Italian journeys. It truly is a great spiritual center. Photography is another matter — there are many restrictions inside the churches. You may think me amoral, but since I do not sell surruptious photos, I have allowed myself personal mementos of Giotto and St. Francis with a pre-focused wide-angle, shooting from the hip.
  12. I’ve used the 24mm Elmar and the 50mm Apo together in many situations (e.g., Southwest Canyon Lands) and find them to be a particularly useful compatible match: compact, high resolution, high micro and macro contrast wide open and stopped down, low CA, wonderful color saturation ... and a similar Leica Look on my M240. I can remove a 75mm from the set, even when a shoot may suggest one, because of how easily the very high resolution 50 Apo crops — as your high resolution 24mm crops well to a 35mm perspective. Of course, they complement each other also in how the the 50 Summicrn provides more speed. They may constitute a very powerful 2-lens compact set, for certain types of photographic situations. Yes the 50 Apo is expensive; however, it is out long enough now to find a good used one. Try a rental first. Tom
  13. I can share my experience after the return of my Monochrome I from NJ by way of Wetzlar relative to how sensor replacement is confirmed. This may apply only to return shipments from Wetzlar. With the camera (in beautiful operating and aesthetic condition) came only a general statement of repair completed with no specificity. I called Customer Care in NJ and was assured the sensor had been replaced and that they were glad to send me a confirming email to that effect. If I were a buyer, that would satisfy me; however, I was able to get another document. I was told that all cameras returning from Wetzlar that day in the batch including mine, came with a Repair Voice from Wetlar listing each camera repaired (of all kinds, not just MMIs nor M9s with sensor problems) by serial number and with more specificity for each repair. I found my my camera serial number on p.7 of a 7-pages document and although it was only one paragraph, it did state explicitly that among the operations performed (free) were "exchange sensor" and "adjust sensor." Clearly, also, there was no longer any signs of corrosion on the perfectly clear images I test shot. I do not know if if NJ uses a long multi item Repair Invoice for the items it repairs in NJ. Again, I would accept an email confirming sensor replacement from Customer Care, but that may be my predilection only. I hope this has been helpful. My experience is limited. I am confident enough in the quality of Customer Care NJ to believe they will work with you until you feel you have sufficient evidence for actual sensor replacement. Tom
  14. I am very pleased with my Monochrom sensor replacement experience. Leica showed its integrity by doing a recall that was bound to hike demand and tax the repair departments of such a small company. Thanks to clear and responsive communication from the NJ Customer Care Division, under the leadership of Jennine J., and an effective and efficient method of the repair departments to get the sensor replacements moving, I think they now have turnover close to 6 months or fewer. It is my impression that they are moving repairs by following a 3-prong strategy. First they offer a trade up to a Typ 246. That still leaves demand for repairs of Typ 230. Recently, Leica NJ seems to have divided the work load with Wetzlar, doing some sensor replacements in NJ as sensors come in, and sending some cameras to Wetzlar for repair and return. I’ve been blessed with a return of my Monochrom in less than 7 months. The work is professional and precise in terms of adjustments and performance. It’s like going back in time and receiving your Typ 230 all over again, nice and new! I think that for new repair submissions, turnover time will be fewer than 6 months. This is all pure speculation on my part. I have no inside information. All I can say for sure is that my experience with their technical efficiency, responsiveness and communication has been what I would expect from Leica. Tom
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