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I noticed that too... that you are using Zeiss lenses. I've heard that they have a propensity to add 'pop' to the colours and an 'edge' to the sharpness. I have the 25mm ZM but seldom use it. In any case, at the moment I'm out of colour film!

I have the 25 ZM and seldom use it too as I am more of a 35/50 user. It is true that Zeiss lenses in general do favor pop and contrast but Leica has followed the same strategy in the last decade or so. Nevertheless I still find that M glass draws with more finesse while ZM is more blunt.

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Another perspective of reflections in the Dead Sea with Velvia 50

Hassy 503cw, 250mm superachroomat

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Edited by A miller
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My best wishes to the people of Mexico at this time.

 

p868968950-5.jpg

 

flower carriers, San Sebastian Abasolo (Oaxaca State) 2011

M6TTL, 28mm Elmarit, XP2 Super

 

 

Leg room...

 

p2508275855-5.jpg

 

M6TTL, 35mm Summicron, Tri-X

Both shots are excellent, Phil. The first is a great example of people documentary photography, and the second is so humorous :D

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Leg room...

 

p2508275855-5.jpg

 

M6TTL, 35mm Summicron, Tri-X

 

This deserves being shown again, no matter what the blue-nosed naysayers have to say about quoted photographs. It's good, no, it's great! Enjoy it, revel in it! Just don't be lazy about keeping up with the forum, which seems to be what their complaints boil down to. If I see a photograph I would be proud to have taken I'll quote it.

stray cat, your photo deserves to be quoted again and again. Just ignore the silly forum politics about whether it is correct to do so or not for those who can't be bothered to keep up, and know I'd happily quote it even if there was no reason to kick back against the "Quote Police"!

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Leica M2 & 35mm Summicron - Fuji Sensia

 

Scotland - The river Nevis seen on the descent from Sgurr a Mhaim into Glen Nevis.

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Wayne - This film compliments your style very nicely.  Love the painterly scene in this one.  If only it were double the price of regular pro stock film...   But I must say that I am getting more tempted to buy a couple of rolls...

Inspired by Christoph's latest from Color Implosion, and Ian's tattered butterfly. I think I prefer tattered, in just about everything.

 

36945128172_2d9092f521_b.jpgimg785 by W P_, on Flickr

 

Praktiflex, Mamiya-Sekor 55mm 1.4, Adox Clor implosion.

 

Phil - This is awesome.  The clarity and glow from the light are really additive.  It is a very humorous scene, indeed!

Leg room...

 

p2508275855-5.jpg

 

M6TTL, 35mm Summicron, Tri-X

 

Thanks, Edward!

And another awesome shot! Fantastic work Adam :)

 

This is a really well composed photo with great colors, Edward.  The only thing that I noticed that might be slightly off is the blue cast in the man's hair.  I would bet that this is an artifact of the scanning software placing blues in shadows instead of dark tones and blacks.  Just a tiny nit, easily corrected, and wonder whether you noticed...

And some more Fuji Pro 400H

 

36709400320_76eb0d63b8_o.jpgM7-Distagon 1.4/35 ZM-Pro 400H by edward karaa, on Flickr

 

36270335284_d2060d3aa1_o.jpgM7-Distagon 1.4/35 ZM-Pro 400H by edward karaa, on Flickr

 

 

attachicon.gifGlen Nevis.jpg

 

Leica M2 & 35mm Summicron - Fuji Sensia

 

Scotland - The river Nevis seen on the descent from Sgurr a Mhaim into Glen Nevis.

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Another from dawn over the Dead Sea...

 

The film:  Ektar all the way :)

Hassy 503cw, 80mm Planar

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Guest Nowhereman

I've finished scanning over 400 old slides (with the BEOON + M10 + Focotar-2), most of them Kodachrome. Looking at the results, I am struck how the rendering of slide films can be quite beautiful even when it doesn't represent some of true colors in the subject: the color of the highlights in the hair in the first picture below and the blues in the water of the Hong Kong picture. So, it is precisely some of the unrealistic color rendering of transparency film that creates a type of beauty that I would most likely attenuate when shooting with the M10 — and it is to train myself to do the opposite that I was musing that it might be useful to shoot occasionally a transparency film that one likes. Now, does that make sense to you?

 

Kodachrome looked very different depending on the exposure used: "adan," in an interesting post, said, Getting too worked up over what "looks like Kodachrome" and what doesn't is pointless. Kodachrome was always a schizophrenic film, depending on exposure. A "bright" exposure gave pastel colors, while a dark exposure gave strong saturated colors. [On this same subject, you may be interested in reading two follow-up posts by "adan" in the linked thread: posts #35 and #42].

 

These pictures were taken around 1982 or a few years later on Kodachrome 25 with an M3, the first one with a Summicron 50 and the second probably with the Tele-Elmarit 90.

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I've finished scanning over 400 old slides (with the BEOON + M10 + Focotar-2), most of them Kodachrome. Looking at the results, I am struck how the rendering of slide films can be quite beautiful even when it doesn't represent some of true colors in the subject: the color of the highlights in the hair in the first picture below and the blues in the water of the Hong Kong picture. So, it is precisely some of the unrealistic color rendering of transparency film that creates a type of beauty that I would most likely attenuate when shooting with the M10 — and it is to train myself to do the opposite that I was musing that it might be useful to shoot occasionally a transparency film that one likes. Now, does that make sense to you?

 

Kodachrome looked very different depending on the exposure used: "adan," in an interesting post, said, Getting too worked up over what "looks like Kodachrome" and what doesn't is pointless. Kodachrome was always a schizophrenic film, depending on exposure. A "bright" exposure gave pastel colors, while a dark exposure gave strong saturated colors. [On this same subject, you may be interested in reading two follow-up posts by "adan" in the linked thread: posts #35 and #42].

 

These pictures were taken around 1982 or a few years later on Kodachrome 25 with an M3, the first one with a Summicron 50 and the second probably with the Tele-Elmarit 90.

 

I, too, think that for many purposes the fussing over precise color palette-matching is irrelevant.  You've digitized in a lovely (and efficient) way your old film memories!

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