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Leica SL Image Thread ...post your examples here ....


thighslapper

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The rest ... SL and 90/280 .

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hi Geetee, great portraits, how do you get your subjects to look like there looking slightly off the camera,

 

 

I just can'\t get enough of the 50SL!

 

At some point I am going to make a book on this project - 'Brighton Beach, Sunrise Sunday'. I'll likely do it at the end of the year when I will have two years worth of work to select from, including a more playful set of candid shots now I also have an M-P type 240 to work with for 35mm perspective. The project seems to be bifurcating into a series of 4x5 'beach portraits' shot at 50mm (on the SL50 and M-50 Lux) and a more documentary like series of 3x2 candid shots using a 35mm lens. I'm trying to figure out if it's best to mix them up or keep them as separate streams but still in the same project.

 

Inked - Brighton Beach, Sunrise Sunday by Greg Turner, on Flickr

 

42408759664_5aedae2123_h.jpgBrighton Beach, Sunrise Sunday by Greg Turner, on Flickr

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Some pictures of the old part of Urfahr - which is a part of Linz and situated
on the northern side of the river Danube. All with SL and 24/90.

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A very helpful tip of the day about looking over your shoulder! It certainly is effective for your composition.

Didn’t you originally use M lenses on the SL, and was initially a bit worried about moving from manual to autofocus? ....now that you’ve had the 50 SL for a while, does it give benefits for your portrait project that you hadn’t initially expected?

Again, great images indeed.

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An idyll at a creek - SL and 24/90.

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Sewing up the cap of a fife case

SL+24-90mm

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Leica SL with 16-35 Firecrest Soft ND 1.5 Filter, Postprocessing Lightroom

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Edited by BlackDoc
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and: same location with the Notilux 1.0 at 1.4 (no filters)

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Edited by BlackDoc
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Watchmaker - with SL and 24/90. It is amazing, what dynamic range can be achieved by tone mapping  out of the pictures with the SL.

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Edited by HeinzX
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A very helpful tip of the day about looking over your shoulder! It certainly is effective for your composition.

Didn’t you originally use M lenses on the SL, and was initially a bit worried about moving from manual to autofocus? ....now that you’ve had the 50 SL for a while, does it give benefits for your portrait project that you hadn’t initially expected?

Again, great images indeed.

There's no one more annoying than a converted disbeliever so I will temper my response as best I can.

 

I railled against the 50SL for a long time and was pretty obnoxious about it on here. I swore blind by my 50 M Summiliux, which until just recently was the only lens I ever used on the SL. I always loved it but I did notice that the resolution would break down pretty quickly if you looked too closely. Of course, I would always just so 'well don't look too closely', and that is still true, but stil....

 

I was trying to be a purist but that never works. What works is whether the equipment enables you to take better photographs and in my view, for portraitiure, the AF of the 50SL and in particular the Eye AF/Face recognition, means I can 'focus' more on the subnject and less on focusing. I think that makes for better pictures; it means I can concentrate more on the person and choose when to release the shutter more confidently. It also makes me more relaxed as I don't have to fret about getting the focus right and the face recognition means that I quite often compose through the view finder and then come out from behind the camera to better engage with the subject.

 

Over and above that, the lens is just utterly sublime. It is a little too contrasty in harsh light (so then don't shoot in harsh light) and colours, especially greens, can get very muddled and over blown in these conditions, but feed the lens early morning or late evening light and it;s just sings.

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Brutalism 1

 

The Barbican Centre, London

 

SL, Summilux 50/1.4

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Edited by Clactonian
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Brutalism 2

 

The Barbican Centre, London

 

SL, Summilux 50/1.4

 

 

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In the yellow saloon - a room in a museum. With 24/90.

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