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About yeeper

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  1. I love my finger loop on the M240. Is there any option out there to do that or a wrist strap on an M6? Technically, someone would just need to (very securely) tap some threads into another grip, whether it's Leica or Camerakraft.
  2. Hello! I'm trying to lock in a scanning workflow for B/W 35mm and I've had such a love/hate relationship with my Coolscan 5000 and Vuescan. The detail extracted is second to none, but I'm seeing EVERY flaw as well. There are hairline surface scratches that explode on the screen from these scans that are nowhere to be found on a mirrorless camera scan or a darkroom print. Is this just inherent to the scanning physics? Is it scanning the surface and therefore every film base scratch is seen? Again, if you backlight the negative, all of these tiny scratches are invisible.
  3. I need to run a test of color filters on color sensor conversions. When you use the color filter simulations, you are really stressing the recorded color channels. I've seen different channels fall apart when pushed. I think I'll take my M240 and take the same image with a (gasp!) orange and red filter on it and then compare it to a clean image with the color filter simulation. It might be fun to torture the camera and ask for auto white balance with one of the filters on, haha
  4. Thanks. Yeah I've seen great and poor prints from both as well. One stunning print I recently saw was a platinum contact print made from a digitally printed negative from a digital camera. And Allan Schaller's printed work always looks great. It's like going back to painting - the artist's vision and skill is always first and foremost, but an oil painting will feel different than a pastel painting, even if it is of the same subject.
  5. I've found that these all tie in with each other. There is no organic shoulder roll-off to clipping in digital. You see this on reflections, specular highlights, etc. This might be combining with the clean, sterile rendering of our new low-noise chips which leads to the feeling I get from it. Do prints tone this down with their own tactile, analog, textured presence? I think so. I've seen some incredible digital prints. But at the same time, you can't tell me that I'm not feeling what I'm feeling when I'm looking at a photo online. Again, I WANT to simplify my life and buy a nice used
  6. You're both right. Whenever I get frustrated processing, printing and scanning, with the surge marks in the negative, dust, scratches, uneven enlarger illumination, etc, etc, I'll look at used Monochrom listings. But then I always force myself to browse Monochrom images on Flickr and the forums and there is always this plastic, artificial undertone to them. Sometimes it's super subtle, but I almost always feel it. Even in small image Facebook posts, when scrolling I'll know a digital b/w conversion versus a film scan. So yeah. I hear you. I will continue this a
  7. I'm curious about the highlight roll off. The one thing I really dislike about the Monochrom line is how they hit a wall and clip in the highlights. With film, and to an extent a bayer color digital chip, the highlights roll off more gracefully. In all of the demos I've done with the M9M and M246, I've been turned off by the highlight handling.
  8. Maybe this will all die down when Covid is over and many folks who took up film photography during the shutdown see the novelty wear off. I lucked out and got a mint M6 0.58 TTL two years ago on eBay for $1700. Those are double the price now. I'm glad I didn't sell my M6 Classic at the time.
  9. I had a lens tune up at YYE and there is very little play. Also no rub on my M6TTL or M240. I'm going to send it to DAG and have him take a look... maybe the roller is a bit low. Thank!
  10. OK I tried it and it just barely grazes the bottom of the round piece that couples the lens to the rangefinder. I'm guessing that the part might be bent a touch lower than it should?
  11. That's what I'm thinking. I don't remember it before... but maybe I only used it on my TTL. There is definitely a resistance/rubbing that happens when I'm collapsing it that I do not feel when I collapse it on the TTL or M240. As in, it is resistance free until a certain point, and then it hits something and needs more pressure and feels friction-y the rest of the way down.
  12. As the title suggests, I noticed some resistance recently when collapsing my 50mm Elmar (last version) into my M6 classic. I don't remember this earlier, but I've mostly used the lens on my M6 TTL and M240. Zero rub/resistance on the M6TTL and M240. (And yes I've done a ton of research and concluded confidently that the 50mm Elmar collapses safely into an M240 and have done so with no problems.) Has anyone experienced this rub with the Elmar when collapsing? Very strange. The lens itself feels very smooth in its collapsing: No play at all.
  13. I did extensive testing of the 35mm Biogon 2.0 vs a Summicron V4, Summicron ASPH, and the LTM Ultron 1.7: Shockingly, the Ultron outresolved the rest wide open with no focus shift. The flaw of this lens is the .9M close focus limit. The Biogon 2.0 was almost as sharp as the Ultron wide open, but then surpassed it to become incredibly crisp and punchy from 2.8 onwards with no focus shift. I bought one. The two summicrons both suffered from focus shift and had less resolution and contrast to the other lenses. I was really surprised. As for the Nocton 1.2, you should test
  14. It might be because the Zeiss 35mm Biogon F2 is significantly better.
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