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At the vintage stuff emporium.

M10-D, 50mm Voigtlander Nokton Asph f/1.2

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Leica M-A, Summilux-M 1:1.4/50 Asph. v1, Kodak Portra 400. Reflections off and of the Prime Tower in Zürich, Switzerland.

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1969 Plymouth Roadrunner, Brooklands Circuit.

M10-D, 50mm Voigtlander Nokton Asph f/1.2

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Leica M10 + Voigtländer Heliar Classic 50mm f1.5 VM

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1960 Ford Thunderbird

M10-D, 50mm Voigtlander Nokton Asph f/1.2

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Stormy day in Soho yesterday.

M10-D, 50mm Voigtlander Nokton Asph f/1.2

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End of season, a quiet photo.

M10-D, 50mm Voigtlander Nokton Asph f/1.2

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On 8/17/2025 at 8:20 PM, robbie3 said:

Hello Ernst,

no problem though I don't regard myself as a sophisticated post-processing expert, my goal is always to get an acceptable image reasonably quickly.

I guess the key to the look I like is I nearly always start with desaturated colours, normally using the Lightroom Modern 05 profile. This gives me a very desaturated look and I then build on that, but it's rare I start from scratch these days, I normally copy the edit settings from another photo and adjust it from there.

Anyway, if starting from scratch, I sometimes press the Auto button to get a reasonably well exposed start place but it's normally too bright for my eyes so I then pull back the blacks and highlights to taste.

Next I select the Modern 05 profile, by default this gives a very desaturated look, far too much for my taste so I move the slider to the left until I get something that looks good to me (normally around 25-35, the start default is 100). If the look isn't working I move left again, sometimes down to 0 which is similar to Adobe Color, another LR profile I use occasionally.

After that's it's just a case of minor adjustments, sometimes I pull back the sky brightness, add Texture (+30) and a little Dehaze (+5), particularly if the photo looks heavy on the Leica glow.

I don't use the Color Mixer very often these days as, particularly when copying edit settings from another photo, I would sometimes get weird results. Occasionally I reduce the Luminance on a particular colour.

That's pretty much it, no dark secrets or magic, just a method that normally gets me to something I'm happy with.

The other thing that's transformed my photography this year is purchase of a small dye-sublimation printer, a Canon Selphy 1500. It's a fairly inexpensive (around 130 GBP) and costs around 0.30 GBP per print. 

The quality is wonderful with no fiddling about needed, it pretty much only does 6x4 inch prints but it does them exceptionally well.

I used to print at home years ago but left that world of pain behind. It really is magical to hold high quality small prints in your hand or laid out on a table instead of on a screen.

I hope the mods don't mind a iphone picture just this once:

 

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Thanks sooo much for this, been admiring your work for a while now and would love to get the same consistency you do with post ;) Oh love your bar italia shot, i have a similar one ;)

 

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Through the night in Yellow 

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SL2s, VM Nokton 50mm 1.1
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Waiting for the night ride

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SL2s, VM Nokton 50mm 1.1
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M10-D, 50mm Voigtlander Nokton Asph f/1.2 @ f/2

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Leica M10 + Noctilux-M 1:1/50

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Wet day in Fitzrovia, London.

M10-D, 50mm Voigtlander Nokton Asph f/1.2

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A whole lot of stickers. Frankfurt, Germany

M6 TTL with Noctilux-M 1:1.2 /50 ASPH., Kodak Tmax 100, f1.2, 1/1000

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M240-P // 50LuxASPHv2

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M10, 50mm Summilux pre-ASPH v3

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M10-D, 50mm Voigtlander Nokton Asph f/1.2

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11ps+noctilux 0.95

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The remains of the C13th philosopher Thomas Aquinas, stored in a golden reliquary beneath the altar of the Couvent des Jacobins, Toulouse.

M10-D, 50mm Voigtlander Nokton Asph f/1.2

 
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Aveyron, France.

M10-D, 50mm Voigtlander Nokton Asph f/1.2

 
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