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Show us some Mandler Magic

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For all of the subtle beauty of a Summilux, or the crisp drawing of the Elmars and Elmarits, this is still the Mandler Magic that sucked me into Leica - clarity of color combined with control of contrast

Whites that seem to go on forever, yet with open shadows. The lenses leave no tones or colors behind.

"Pinks and greens, reds and cyans, living together! Old Testament stuff!" - apologies to Dr. Peter Venkman (Bill Murray) in Ghostbusters.

28 Elmarit v.4 (M10)

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10 hours ago, adan said:

Sorry - typo - above is 28mm Elmarit v.3

Yeah, I could see that from the picture.

Not. :lol:

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Not my Mandler at least 😋
Hard to recognize a Mandler if stopped down so much

Edited by otto.f

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8 hours ago, lct said:

:D and now Mandler or not?

Well, it doesn't look like what I expect, and hope for, from Mandler M lenses of the era 1980-1987. On a Leica M sensor.

Too red/magenta/purple overall (see woman's "gray" hair peeping over the necklaces, all the shadows, and the yellowish geranium leaves); a bit hot in contrast. I.E. looks too much like Kyocera/Contax or Nikkors, or recent ASPH/APO renderings.

But the variables of sensors and post-processing are such that it could be a Mandler, using Adobe's (or some other 3rd-party) camera calibration profile and auto white balancing, which I always avoid (gaaah!). Or other processing choices. Or of course on a Sony, or for that matter the M240.

I leave my Adobe Camera Raw "Basic" settings at zero, and my WB preset at 5000°K, no tint, and use the Embedded Leica M10 profile, and let the lenses show off their native character and ability.

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1 hour ago, adan said:

Too red/magenta/purple overall (see woman's "gray" hair peeping over the necklaces, all the shadows, and the yellowish geranium leaves)

Well honestly i don't see that but perhaps i'm becoming color blind...

 

 

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