Popular Post chris_tribble Posted March 20, 2015 Popular Post Share #1 Posted March 20, 2015 (edited) Advertisement (gone after registration) Exceptionally difficult lighting at a recent shoot, but the M240 worked brilliantly. More than 80% of the shots here are with the 28 summicron asph. All shot at 1600 and (obviously) hand held. The play is Train Spotting (based on the Irvin Welsh novel) and it's not for the faint hearted or weak stomached! The shots here are the ones that don't contain seriously scatalogical content and full nudity, so if you want to take in the play during it's run at the King's Head, be aware... The joy of working with the M on an assignment like this is that the rangefinder makes focusing reliable even in ridiculously low light and colour rendering requires remarkably little work in post. I can also get away with silly slow shutter speeds and produce remarkably sharp images. I continue to be surprised and pleased by how well the M performs. Any similar experiences to share? Edited March 20, 2015 by chris_tribble 34 Quote Link to post Share on other sites More sharing options...
Advertisement Posted March 20, 2015 Posted March 20, 2015 Hi chris_tribble, Take a look here The joy of M-240 and 28 summicron asph. I'm sure you'll find what you were looking for!
jmahto Posted March 20, 2015 Share #2 Posted March 20, 2015 I am wondering whether 35 lux would have been a better choice? Or is it that greater depth and slower shutterspeed makes 28cron a better choice for these kind of photos? I have both (had 28cron first) and still not sure which one to use in low light environmental shots. Quote Link to post Share on other sites More sharing options...
LocalHero1953 Posted March 20, 2015 Share #3 Posted March 20, 2015 (edited) I'm with you all the way about using the M240 in low light for performances: Cambridge Musical Improv - Paul Ashley Photography Most of these were taken with the Apo-Summicron 75 Asph, or, for bigger scenes, the Elmarit 28mm Asph. ISO 1250-2500. I still get a lot of focus misses, but OTOH I know that when I press the button, I will get the shot I see in the VF - not the one half a second later. Most of my successful shots here were a result of deliberately catching just that precise action moment. I'd be interested to hear of your practice, Chris, with regards to the mixed lighting you get in theatre. I aim for more or less natural skin tones and let the rest of the scene end up where it does. It looks like you have a more tolerant (?) approach. Edit: I love the shots, BTW. All the action. But I don't think the play is for me! Edited March 20, 2015 by LocalHero1953 Quote Link to post Share on other sites More sharing options...
hydet Posted March 21, 2015 Share #4 Posted March 21, 2015 These are quite remarkable, Chris. I too would be interested in your actual set up. Did you zone focus, or refocus for each shot? What do you mean by "silly slow shutter speeds" with this lens? Seriously, these are inspiring. I would never have thought about using that great lens for this situation. I too would have instinctively chosen a 24 or 35 lux. Quote Link to post Share on other sites More sharing options...
epand56 Posted March 22, 2015 Share #5 Posted March 22, 2015 Yes, quite remarkable job, Chris! I'm stunned by the changes made so far since the times of the M8. I'm too very interested in hearing something more about your technique in this kind of photo context. Quote Link to post Share on other sites More sharing options...
Echo63 Posted March 22, 2015 Share #6 Posted March 22, 2015 (edited) I agree that the rangefinder is the best way to focus in low light. I always take a few shots with my M at gigs, i seem to shoot most of the low light gigs with pit access with the M, and the occasional frame here and there with the 1DX (i don't like the way it behaves in weird light, the M seems to be much more accurate) Chris - that looks like an interesting sort of production Edited March 22, 2015 by Echo63 Quote Link to post Share on other sites More sharing options...
viramati Posted March 25, 2015 Share #7 Posted March 25, 2015 Advertisement (gone after registration) Ah my favourite leica setup M an 28 cron Quote Link to post Share on other sites More sharing options...
chris_tribble Posted March 26, 2015 Author Share #8 Posted March 26, 2015 Thanks for kind comments. Some replies re practice: LENS CHOICE - because I was able to work so close the 35 wasn't relevant, and seems not to do the job for a large number of assignments I get involved in. I'm happiest when I'm able to get a participant perspective, and the 28 gives me this. I suspect that the 21 would also be really useful, but I'm simply not happy working with an external viewfinder (either Frankenfinder or EVF) in these kinds of context, and although the EVF has some advantages, the shutter delay is a killer in this setting. WORKING PRACTICE - whenever I can I cover rehearsal / dress rehearsal, and negotiate to be the only photographer there. I've also spent a long time building trust with the company, and this gives me the possibility of being ON the stage, IN the action, rather than shooting from off the set. This transforms what you can get. Clearly, in some contexts this isn't possible (see: A Winter's Tale and I'm forced into using longer lenses (usually 5 Series Canon... + 70-200), though it's still possible to use the M when action moves forward and you can lean in). I have used a DSLR + fast 70-200 and 300 lenses, working off a tripod on a platform in the auditorium, but it's not the same experience - a bit like shooting fish in a bucket WB / FOCUS / EXPOSURE I've found (especially with the M) that shooting RAW and using AWB gives remarkably usable results, and requires minimum in post. When an issue arises and things look wrong, I follow Thorsten's advice and set the WB to 3200 and work from there until it LOOKS right. When it comes to focus, the thing I love about the M is that you CAN focus, even in ridiculously low light. The shot below would have been focused before shooting. In theatre, I never need to estimate focus - there's always enough time. Exposure is a slightly different story as I'll set exposure manually for a sequence, adjusting when there's a noticeable shift in light value. I usually leave the lens fully open on the 28 and set it to f2 or f2.8 on the 50 summilux (the other lens I used for this shoot). The image below was exposed at 1/15th and only needed a +.4 stop in exposure. Interestingly, from my point of view, in the >600 images I handed to the client, 525 were taken with the 28mm and 101 were taken with the 50mm. I should add that it's essential to be working with 2 bodies under these circumstances. Hope this is useful. Best Chris Welcome, dear visitor! As registered member you'd see an image here… Simply register for free here – We are always happy to welcome new members! 4 Quote Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/242546-the-joy-of-m-240-and-28-summicron-asph/?do=findComment&comment=2787272'>More sharing options...
rim_light Posted March 26, 2015 Share #9 Posted March 26, 2015 Really good photos of a surely great performance. Quote Link to post Share on other sites More sharing options...
Photoskeptic Posted March 27, 2015 Share #10 Posted March 27, 2015 Remarkable considering the lighting. I have zipped around the WB thing, using all manner of settings - still a little unsure of what's best. Quote Link to post Share on other sites More sharing options...
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.