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Showing results for tags 'color'.
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Hi all, I've noticed there isn't a dedicated thread for editing L-Log footage, so I will begin one here. I realize that colouring and re-touching video is a very subjective field, but I wanted to see how others work within Leica's limited literature surrounding post-production in video. I've just updated my Atomos Ninja V to the latest firmware, which now allows for L-Log recording from leica (the past year with the SL2 was a little tedious working with both internally and externally recorded video footage). Now, with this update, BT2020 seems a lot nicer. I've just done my first video about this update here: -
Hi, l’ve a 50mm Summicron and 90mm elmarit; both stellar lenses. I’ve had these lenses for a good few years and don’t have any desire for more. From the get go I was sure to source lenses with common filter sizes, in this instance 39mm. I shoot quite a lot of film with my M6, both colour and BW. Its on the way back (in the post) with a viewfinder upgrade and CLA so looking forward to giving it a good run feeding it lots more film. I’ve a B+W F- Pro orange filter that I use a little and I’d like to add to this. Specifically a green filter for BW portraits, to experiment on my young surfer son who’s seven with some cute freckles. Also, for colour negative, typically with Portra, I’d like to get my hands on warming and cooling filters to try and get more consistent results and minimise colour shifts. This is particularly relevant as finding a good local scanner operator is a challenge; it’s not an excuse, just another reason to try and minimise any requirement for corrections at the scanner, i note Leica make some black and white filters, including a green filter, so that would likely cover off my requirement for BW, however, I’m stumped for warming and cooling filters, particularly in the 39mm size. I tried a camera store this afternoon to see what they may be able to get and was advised they’re unable to help me as there’s little need these days with digital; fair enough. Most ideally too, I’d like nice brass filters like the B+W F-Pro series, they’re very nicely made bits of kit. As I’d like to keep the setup compact, I don’t wish to use step downs or larger filters, I’d like to stick with 39mm. So, we’ll made brass 39mm filters; colour for BW and warming / cooling for colour neg. Any recommendations on where I might find the above? New or used? Thanks. And for a bit of fun, who else is using warming and cooling filters for colour neg film? I’ve an old Lumu light meter; I’m considering upgrading to the newer one simply for better understanding of colour temp variance, and flash measurement. FYI, the lumu’s are a great little light meter; I keep mine on my phone always, often even if I don’t have a camera with me! Cheers, Steve
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Processed in Lightroom, Landscape or Color profiles, I find that boring grey skies are apt to carry a blue tinge (that becomes stronger as you approach blue hour). It certainly makes the pics look more lively, but it’s not what I remember seeing. If I set the sky to be grey using the temperature setting, the rest of the picture looks too warm. Have others noticed such quirks? Is there a solution (that doesn’t involve repainting the scene)?
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I post process my SL 2 raws in Adobe Lightroom. It is generally fine, although, as seems common with Leica raws, the reds are a bit oversaturated. I tend to use the Landscape profile as it seems to have a slightly less contrasty tone curve than Color and the colours are a bit more vibrant. A typical workflow is to add a bit of vignetting, adjust white balance, push the auto exposure, for a starting point, normalise the black and white points to get the right amount of clipping, add 15 clarity and 5 dehaze, and Robert is your Mother’s brother. The SL2’s white balance is normally v good, but when it isn’t I find that Auto tends to result in an overly warm image, relative to the expected neutral. Similarly, taking the white balance reading from gray clouds seems to result in too much warming of the image, suggesting that the SL2 wants to render them blue, at least under the Landscape profile. (I get better results taking the white point from cloud highlights, where they are available and where it isn’t too close to sunset.) I also realise that the dehaze tends to add a bit of a blue cast. Has anyone a better recipe for getting better (more natural) colours out of the SL2?
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Hello all, I am wondering if anyone here can help me resolve some issues after upgrading to Lion. I am using CS5 on a Macbook and printing on an Epson Sylus Photo R2400. I recently upgraded to OSX 10.7 (from 10.58 if this matters). When I compare a photo that I printed before the upgrade with one printed after the upgrade (using the same paper and profile and the file has not been edited between printings), the one printed in 10.7 has a slight magenta cast (the original print has pastel greenish blues; the one printed from 10.7 is more greyish violet). The original print matches the calibrated monitor better as well. I am using photoshop to manage colors, and, as far as I can tell with the new driver, printer color management is turned off (this seems to happen when the settings are selected in the photoshop print window). I have read that there were potential issues with drivers, but I have cleaned out the Epson folder in my system library, reset the printing system, and reloaded the printer with newly downloaded drivers from Epson. None of this seems to change the output. It may be possible that the new Epson driver yields different color from the same file/profile combination, but this strikes me as unlikely. It may also be that there was some nozzle clogging in the original prints that, once cleared, has resulted in the color shift, but the number of consistent prints and timing of the shift makes this unlikely as well. I am tempted to get a custom profile for the printer to address the match issue, but if there is some software glitch that is causing the shift, am not sure this is the right solution either. Does anyone have any advice as to how to resolve this issue? Thanks
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hi, the color saturation option (black & white option) is only available in the snapshot mode? as soon as i leave this mode i cannot access to this option anymore. am i missing a point? i dont feel free setting up my camera functions as i want -
Hi Folks, I have been disappointed with residual uncorrected color shifts in the corners of shots with my M9P and 28mm Elmarit ASPH and 24mm Elmar ASPH lenses (particularly snow scenes). The built in profiles of my camera don’t seem adequate for my samples of these lenses. Has anyone with the new Leica M worked with these lenses? If so, could you please post samples? Thanks, Steve K -
In Naples, there's a lot to see, but I think the most interesting is the hustle and bustle in the streets, markets and shops. And of course, the stores themselves .. Andreas - These are lovely shots but they viloate Forum rules for image size, so I resized them and replaced them. In the future please follow the rules: No side larger than 960 pixels and no file size larger than 300 KB. Stuart Nordheimer [ATTACH]287198[/ATTACH] [ATTACH]287199[/ATTACH]
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OK, so I was shipped a 39mm Leitz IR filter (deep red, almost black) by mistake for a Leica UV/IR filter - and decided to keep it. Playing around, the first thing I noticed is that while the M8 replicates B&W infrared film quite nicely, color IR shots are nothing like color Ektachrome Infrared. They are either red all over, or, with a strong bias of the white balance towards the left (yellow, + green tint), a weak approximation of EIR shot without a filter - pastel purples, magentas and reds. Where were all the rich greens and cyans and flaming red foliage I remembered from shooting film EIR? You know, the colors the CIA would analyse to figure out the Soviet crop forecast, and so on. I've now figured out how to get those colors back - and it basically involves replicating how Kodak sensitized the three layers of EIR. What Kodak did was to mismatch the wavelength sensitivities of the layers to their color dyes, so that infrared light created a red image (cyan dye layer), red light created a green image (magenta dye layer), and green light created a blue image (yellow dye layer). Blue light affected all the layers, and created that purple look if no filter was used, so the normal way to shoot EIR was with either a yellow or a normal red filter (not IR-only) to block all blue light. So - what I've done is to shoot TWO exposures of these scenes - one with the Leitz IR-only filter, and one in "normal" RGB. I open the normal color shot in photoshop, and swap some color channels. Green channel gets copy/pasted into the blue channel, red channel gets copy/pasted into the green channel. Then I open the IR exposure, and copy THAT red channel and paste it to the red channel of the "normal" color image. So I've now got Infrared>red, red>green, green>blue. This replicates the look of EIR shot with a yellow filter - firey red grass and trees, cyan skies, and some neutral tones that look almost color-correct. For the look of EIR shot with a red filter (which produced IR and red images but no green exposure) I just take the additional step of filling the blue channel with black (no exposure). This gives the same intense red/yellow/green pallette. It takes a bit of further processing with "selective color" and "HSB" to get the colors precise, but that is pretty easy once the basic palette is in place. I figured this was M8-specific, even if it is a post-processing technique. Unless you do surgery on a DMR or D-Lux 4 to take out the IR filters, it doesn't apply to them. ------ P.S. You'll notice the clouds moved between the IR and normal color exposures, thus the cyan/red/white effect. I also shot this first set of pix hand-held, but it really requires a tripod for the two exposures to match - amazing how a fraction of an inche can change how things align even at 50-60 feet away!
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I recently shot a wedding with my M8 shooting DNG. I noticed after the wedding that the bridesmaid gowns which were solid black in color had come out a like dark brown after loading into lightroom. I have never had this problem before and other things such as tuxedos came out perfectly black. The gowns were made of a silky material and was wondering if this was the reason. I was shooting with a 35mm ASPH lens. Gerry
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From my work 'A day in Berlin' here Best, Christophe
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I have recently been experimenting with Lightroom 3 and find it useful for processing photos quickly. I do wonder whether it is possible to use LR to do fine tuning of color, however. In the past I have used Photoshop (and ACR) to process fine art images. As one step in this process (after adjusting overall WB as best as I am able) I use Levels to precisely set the black point in the image to a neutral black and the white point to a neutral white (I do this using color samplers and fine tuning the levels sliders in the color channels). I find that this process yields a richness and subtlety of color in the shadow areas of the image. It is also the case that once this is done, the overall image looks well adjusted to my eyes (without setting some neutral grey in the middle of the range) Having said this, I have two questions: 1) I am not an expert on color and wonder if this process makes sense. For example, while I get the subtlety of color does this also eliminate color "casts" that may be desirable when photographing in early or late light? 2) Is there a way to do anything similar in Lightroom? It seems that I can only set the overall WB (as I would in ACR) and then export to Photoshop for any more subtle control. Any comments or insight would be welcome. Donald
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Hello everybody, this is my frist post. Hope you like! Granmother takes breakfast in hospital. Leica M9 + Carl Zeiss Biogon 35mm f/2
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From a trip to France in 2015. Leica M9 + Zeiss 50mm Sonnar f1.5 Gerry
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2403520ZM, Imperia (IT)
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Dear all, I am the happy owner of a M(240), and more recently a CL and SL. I am coming from over 15 years of film M. I like shooting the rangefinder camera though I find a huge difference between my almost 5 year old M and the most recent (for me: I got the CL last january and the SL in October) cameras in image quality as soon as I shoot over iso 1600. I almost never shoot the M in color over iso 1600 since I don’t like what I can get out of lightroom @iso 2500 or more in color. i also have trouble with color consistency in mixed (daylight + artificial) lighting with the M. on both issues I find the SL is far superior and even the CL. Do you share the same experience ? do you think the M10 is much better in those areas ? thanks for sharing your experience didier
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Reminded me of people like Saul Leiter or maybe Ernst Hass, don’t know but I like it. Leica M240 + 50mm Summicron f2. Processed in LR Classic using a Kodachrome 25 preset. Gerry
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My Leica D-Lux 3 that displays (1) a purple color shift for white colors in bright light; and (2) a photos show a green or yellow tint in low light. I have looked over the presets and defaults. I cannot find a switch that improves the display. I believe that the exposure sensor is damaged or malfunctioning. Otherwise, the camera is in good shape cosmetically and according to a review of the presets and default, working correctly. A used replacement on Ebay is about $150 to $200. My questions are: -1- Can I send my camera to the Leica repair for a new sensor for that amount of money? I know about the submission form that requires a maximum repair cost to be stated. -2- Is a Leica repaired camera totally checked out and then repaired so as to insure long lasting functioning? -3- Is it better to purchase another non-leica camera for $150 to $200 with improved specifications like increased megapixels? Thanks for reviewing my questions, Inkbox PS I encountered an error when uploading files; although I deleted the upload files, I cannot upload replacements. I have used up all of my storage space and cannot locate a delete button in My Attachments. -
Hi everyone, I’m hesitating which color film to choose for shooting in cloudy rainy day. What are your recommendations? I have all my fridge all color films that are in production nowadays + Fuji Pro 400H
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From the album: Leica M Typ 240
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From the album: Leica X-E
Sunset in the countryside -
From the album: DJGR33R
© DJGR33R
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From the album: Walk around the Neighborhood
© (C) 2016, Chris Scholz
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© Kelly Rae Daugherty
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