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SL + M50 Lux = Fun!

 

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Cornish Fall..

 

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One more..

 

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SL + 90/280 @ 280mm

 

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Gull on the wing....

 

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SL, Verio Elmar-T 18-56

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The letter cutter.

SL + 90-280SL. @280mm, ISO1000, f/4, 1/250s, not far from closest focus, handheld. I love this lens  :) .

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Charging Fresians... 24-90 @ 24mm f8, 1/5sec, ISO50

 

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Beautiful day for fall color photos.  These were taken about 50 feet from my office.  SL90-280 and Lightroom.

Thanks for looking,

Mark

 

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More color.  SL90-280 and Lightroom.

Mark

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after the fall.  SL90-280 and Lightroom.

Thanks,

Mark

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Bonjour,

 

Last portrait of Mélina. Natural light, the SL, 24-90 mm @ 90mm.

 

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Shot was taken with my SL and a borrowed Noctilux, shot was straight from the SL - no manipulation. Taken during the walk to Beacon Hill. ISO 200 F/0.95 (shows up for some reason as F/0.90) @ 1/2500s. 

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I find that hard to look at (sorry) - the plane of best focus appears to be in front of her eyes.

 

Is this a case where sharpening or some other LR magic could make this more attractive?  I get the sense that a slightly smaller aperture would make the world of difference.

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Shot was taken with my SL and a borrowed Noctilux, shot was straight from the SL - no manipulation. Taken during the walk to Beacon Hill. ISO 200 F/0.95 (shows up for some reason as F/0.90) @ 1/2500s. 

 

     The SL estimates the F value by calculations for M lenses, the F value used during the capture is not transferred to the camera. Of course it is strange that it gives that value as 0.90 , because it would know the lens if it is 6 bit coded Noctilux, so at least, this information helps the calculation algorithm to make valid estimates in proper F ranges.

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I find that hard to look at (sorry) - the plane of best focus appears to be in front of her eyes.

 

Is this a case where sharpening or some other LR magic could make this more attractive?  I get the sense that a slightly smaller aperture would make the world of difference.

 

I was trying to see what I could get directly from the sensor + in camera processing shooting wide open and at minimum focusing distance.  I focused on the right eye and used the shallow depth of field to soften the rest of the face. The shot was part of an exercise to see some of the artistic qualities of the noctilux.

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