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Leica S Image thread

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Posted (edited)
6 minutes ago, Jan1985 said:

Nice Photo. the signature of the S 100 looks quite different...

Thank you, Jan1985.  I think it is different - in subtle ways - from the S 120.  The photo that I posted above of the Jaguar door handle looks to me Noctilux-like.

And, here is one with the S100 with the SL 601.

Rob

Edited by ropo54

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vor 16 Minuten schrieb ropo54:

Thank you, Jan1985.  I think it is different - in subtle ways - from the S 120.  The photo that I posted above of the Jaguar door handle looks to me Noctilux-like.

And, here is one with the S100 with the SL 601.

Rob

Also very nice. Yeah it's noctilux like of course... Interesting. But to afford both is a bit something of a luxury.

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Posted (edited)
43 minutes ago, Jan1985 said:

Also very nice. Yeah it's noctilux like of course... Interesting. But to afford both is a bit something of a luxury.

Yes, absolutely.  

I would not have added the S100 (particularly with the medium format market as it is at the moment) but for the fact I was able to take advantage of an incredible price for the S100,  coupled with the practicality of being able to use it with my SL 601.

I recently came back from a trip to San Francisco where I really enjoyed using the S 120 on the SL and I have also been quite happy with the S 70 on the SL. (I sold my S 70 recently but am thinking just to buy one again). I would add: The S 100 is smaller than the S120 and focuses more quickly on the SL than does the S 120.

Rob

 

Here's another with S100 on the SL. 

Edited by ropo54

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1 hour ago, ropo54 said:

S 100

 

 

wow, Rob. You are creating such a lovely portfolio of your grandkids that will be a legacy treasure for them!

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Just now, bags27 said:

wow, Rob. You are creating such a lovely portfolio of your grandkids that will be a legacy treasure for them!

Ken: Thank you.  Please know that I've also got a wonderful collection of tongues sticking out at me!  Rob

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Posted (edited)

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From the outside, Richard Serra's Cor-Ten-steel masterpiece "Joe" appears to list a bit to one side, like a stylish woman's hat or the prow of a ship. The sculpture is the vibrant stroke of burnished orange that glows next to the concrete Ando building and the gray-graveled ground. Step inside, and the walls teeter over you and the spiral passageway appears to contract and expand. In a certain light, they glow like desert-canyon walls. 'Round you go, touching the steel, which turns surprisingly, sensuously warm in some places. The walk can produce distressing sensations of disequilibrium -- until the center of the spiral is reached. Shadows draw lines across the inner walls, across the ground, as if they have a weight of their own. The sculpture frames the sky in a surprising way, given that you're in the middle of a city. Serra transforms space from closed to open, from anchored to released.

24mm S  SilverEfx Pro processed 

Edited by LeicaS2
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6 hours ago, LeicaS2 said:

From the outside, Richard Serra's Cor-Ten-steel masterpiece "Joe" appears to list a bit to one side, like a stylish woman's hat or the prow of a ship. The sculpture is the vibrant stroke of burnished orange that glows next to the concrete Ando building and the gray-graveled ground. Step inside, and the walls teeter over you and the spiral passageway appears to contract and expand. In a certain light, they glow like desert-canyon walls. 'Round you go, touching the steel, which turns surprisingly, sensuously warm in some places. The walk can produce distressing sensations of disequilibrium -- until the center of the spiral is reached. Shadows draw lines across the inner walls, across the ground, as if they have a weight of their own. The sculpture frames the sky in a surprising way, given that you're in the middle of a city. Serra transforms space from closed to open, from anchored to released.

24mm S  SilverEfx Pro processed 

Beautiful series of images!

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