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Hello S.!

you have posted some 'links' to some rather nice images with some rather nice content to them. For the images themselves, I'd say that my only suggestion would be to ask yourself "are my whites evoking white" and "are my blacks evoking black". The street scene with the parked motorcycles was really popping for me visually - partly because the whites, the blacks, and the greys between were really shining. Much of the others, while having good compositions, good subjects, and nice timing, were bothersome to me because things a viewer would expect to evoke a white or evoke a black of some sort just weren't. The images were held back, a lot for my eye, by being seas of middle grays.

 

How a photographer shoots, the images one creates, and one likes to present, is quite an individual exercise. The term 'right' or 'wrong' isn't one I care for in this regard ie: I'm not shouting "You Did It Wrong!" at you. :-) Rather, passing along a question the head of my college's photo program used to use a lot. Are the whites -or- the greys -or- the blacks contributing to the image you're sharing?

 

I'm fairly comfortable thinking your viewers may like these 'grey' images, which aren't evoking much 'white' or much 'black', but may like them much more with some changes to the settings you used to create it.

 

Sincerely

Richard in Michigan

 

This is my first post ever on the Leica forum. I enjoy reading and learning from everyone here.

 

Got my M8 a few weeks ago. I went to a local dealer yesterday and purchased a collapsible Summicron 50mm (serial number suggests ~1954-55, I think). Here are some results:

 

Light finds your hair on Flickr - Photo Sharing!

on Flickr - Photo Sharing!

on Flickr - Photo Sharing!

on Flickr - Photo Sharing!

Vroom vroom on Flickr - Photo Sharing!

Drive by on Flickr - Photo Sharing!

Opera house on Flickr - Photo Sharing!

 

I'm new to rangefinders, and this camera system has got me hooked on wanting to try different lenses. I took a few shots with an older model (not sure what version/year, but definitely older) Summilux 50mm. It blew me away, but the price was a bit out of reach at ~$1200.

 

For now, I really like the collapsible Summicron 50mm. There's just something inspiring about shooting with a lens made half a century before I was born. It's exciting, humbling.

 

Cheers,

S.

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Welcome to the forum, S--

 

The old lenses are one of the real pleasures in using these cameras. Somewhere around here I have some shots from a pre-war [WWII] Summar, uncoated, and some shots using a pre-war 50mm 3.5 Elmar, both of which are really quite nice for portraits. The more recent "old" lenses--the Mandler designs are sharp, and still have a unique look, just as you've discovered with the Summicron. The lenses from the 1950's and 60's, as many have noted [do a search on the site for threads] are well worth considering. Their lower contrast is well suited to digital.

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great to see many post's and posters ......never thought it would be so popular :D

 

here a recent one with my favourite elmar 3,5/50 screw thread.

 

keep it going;)

 

andy

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Andy!

very very nice image! Not sure if it's the Elmar Fifty that brought the magic to it, but there is something pretty special bout that portrait. Thanks For Sharing.

 

Query: Also love your 'matte' on the image. Reminds me a lot of the glass slide holders I once used with my Rolleiflex TLR.. once upon a time. Is it a template or file you might share with us?

 

R in Michigan

 

great to see many post's and posters ......never thought it would be so popular :D

 

here a recent one with my favourite elmar 3,5/50 screw thread.

 

keep it going;)

 

andy

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Richard

thanks for the comment on the image...I do adore the 50/3,5 on the M8 it just works so well and is so compact.

 

The matt I did is just using the vignette function in Lightroom...slide all the post crop sliders to the left and thats what you get..you can vary the thickness simply by slight adjustments to the right on the sliders.

Hope this makes sense...

 

best

 

Andy

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Thanks for the Info.

The Tips for lightroom seem straight forward.

Will make note of the tips and hopefully remember them when I need em!

R.

 

Richard

thanks for the comment on the image...I do adore the 50/3,5 on the M8 it just works so well and is so compact.

 

The matt I did is just using the vignette function in Lightroom...slide all the post crop sliders to the left and thats what you get..you can vary the thickness simply by slight adjustments to the right on the sliders.

Hope this makes sense...

 

best

 

Andy

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Here's a few more shots from the M8/Jupiter-8 combo:

 

Windblown Domino, April, 2010

4541375163_52bdcf99c3_b.jpg

 

That doggie shot looks like something shot with my 35mm ASPH Summicron. WOW!

 

Thanks! I am so insanely pleased with my $30 lens; it blows my mind every time I see a new photo from it!

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Maggie

 

that is one outrageously great shot of Domino...the light , sharpness,OOF areas and color's are just amazing, (the photographer of course too).

 

Makes one want to sell that expensive glass and go Jupiter;)

 

great

 

andy

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Thanks, Andy! Lately, the Jupiter-8 has been doing duty on my M4-P. Here's a couple of shots from that combo (sorry for the off-topic pix):

 

Wandering Children, Old Cheney Farmers' Market, May 9, 2010

4601806614_355d69c2b0_b.jpg

 

Wise Oven Bakery, Old Cheney Farmers' Market, May 9, 2010

4601801374_61461225d1_b.jpg

 

It's such a great little lens!

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My first quick shots with the new 1:6.3/10,5 Elmar - the "Berg-Elmar" - fully opened (i didn't say "wide" opened...:o):

 

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I like the rendering of low contrast and warm colours by the lens. Last picture with ISO 1250. Framing is not easy, as you don't know how much you have to tighten the 90mm frames. Though it gives back a true 135mm to the M8.

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Here is a technical shot with a 1953 Summitar 50/f2 (bought new by my father in NY in 1953) and M9. The original image had a huge amount of flare and needed a lot of clarity added in C1 V5 and then further tweaking in CS5 to be even vaguely usable. This is not a combo I could recommend. Part of the problem is down to the absence of a sun hood I suspect. The barn door one has been lost for years and I have not been able to find one of the slide on external ones with a little locking knurled knob, that my father used to use.

 

The car is a 1977 911 Carrera 3.0 RS rally car that I bought from a scrapyard in California last year, where it had languished for about 10 years. I have rebuilt it over the winter but I had not driven it at night until last week. As we are doing the Couple des Alpes in about 3 weeks, I thought I better just check on the lighting. A pair of candles on the front would have been brighter. I am therefore in the process of replacing the front wiring loom and fitting HID bulbs with solenoid dipping to the car, in the hope of getting something better.

 

Wilson

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OK--I found one....

 

50mm rim set f3.5 Elmar wide open. Love this lens.

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Picked up a very, very used and dirty IIIa of 1939 in the Bay, with its original Summitar 2/50. After cleaning, the lens showed absolutely no scratches or fog. Must have been my lucky day!

 

These young ladies were working on an assignment for school, and had to ask people in the street questions about their nationality and reason for being in Trier yesterday. In return I took their portrait.

 

M8 1939 Summitar 2/50 f2.2 1/1500s ISO160 no filter

 

?id=64949999&noresize=1

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