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50/0.95 Noctilux asph with M240.

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M10+ 50/.95 with ND filter

The crossing can be a specific picture frame.

People will enter/leave the frame. And each entering will tell a story.

 

 

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Study lamp.  50mm f1 v4, M10M.

 

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Noctilux 1.2 on M240

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Having so much enjoyed all of your contributions to this thread, I have finally succumbed. Last week I traded a small suitcase of much loved cameras and lenses for a noctilux f1.0 v4. Here's one of the first pictures I took with it after leaving the shop and I can say I'm smitten. To better familiarise myself with its qualities and flaws, I have vowed not to change lens for a month. 

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1 hour ago, Sid Bolan said:

Having so much enjoyed all of your contributions to this thread, I have finally succumbed. Last week I traded a small suitcase of much loved cameras and lenses for a noctilux f1.0 v4. Here's one of the first pictures I took with it after leaving the shop and I can say I'm smitten. To better familiarise myself with its qualities and flaws, I have vowed not to change lens for a month. 

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Congratulation on your acquisition!  It is three months since my f1 v4 arrived and my Summilux-ASH is highly displeased at mostly being relegated to the shelf...  Most use of the Noctilux has been on M10M (often with 60mm yellow and orange filters) plus some colour work on M240 & A7III.  As recommended by other Noctilux users, a Heliopan Variable six-stop ND (slim version) filter is very useful for maximising usage at f1.  On the other hand I have found that the lens's performance at apertures >f1 has been very impressive (and better than I'd been led to expect from reading various posts over the years about overall performance) so in essence it is undeserving of the 'one-trick pony' label sometimes applied.  In any case - enjoy!  :)

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17 minutes ago, Keith (M) said:

Congratulation on your acquisition!  It is three months since my f1 v4 arrived and my Summilux-ASH is highly displeased at mostly being relegated to the shelf...  Most use of the Noctilux has been on M10M (often with 60mm yellow and orange filters) plus some colour work on M240 & A7III.  As recommended by other Noctilux users, a Heliopan Variable six-stop ND (slim version) filter is very useful for maximising usage at f1.  On the other hand I have found that the lens's performance at apertures >f1 has been very impressive (and better than I'd been led to expect from reading various posts over the years about overall performance) so in essence it is undeserving of the 'one-trick pony' label sometimes applied.  In any case - enjoy!  :)

Thank you Keith. My summilux asph will also be warming the sub's bench, though it's too good to sit there for long. My experience so far appears to mirror yours, though heavy, the lens is definitely more versatile than has been suggested. Your ND suggestion is timely. Longer, brighter days are coming. I was considering a 3 stop ND, but I don't want to spoil the ship for a ha'porth of tar.

 

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I've always thought of my 50/1 Noctilux v4 as 'two lenses in one', or 'a lens with two moods'.  Obviously the superb wide open lens as pictures in this thread demonstrate but at f/8 it's razor sharp with lots of contrast.  (My 80/1.4 Summilux-R has the same duality, which is perhaps a gift from Doctor Mandler.)

Pete.

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5 hours ago, Sid Bolan said:

Having so much enjoyed all of your contributions to this thread, I have finally succumbed. Last week I traded a small suitcase of much loved cameras and lenses for a noctilux f1.0 v4. Here's one of the first pictures I took with it after leaving the shop and I can say I'm smitten. To better familiarise myself with its qualities and flaws, I have vowed not to change lens for a month. 

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Welcome to the club Sid! I have been fortunate to have owned all of the Noctilux versions since new and for me the unique and special rendering these lenses all provide never gets old, and as Pete above mentions utilizing the lens wide open at F1 as well as 5.6-F8 provides a wonderful breadth of utility and artistic variability that none of the other Leica lenses can provide. Enjoy this lovely new lens of yours and may you get many many wonderful and memorable photographs from it for years to come. 

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Am 3.4.2021 um 11:56 schrieb Keith (M):

As recommended by other Noctilux users, a Heliopan Variable six-stop ND (slim version) filter is very useful for maximising usage at f1.

The Vario-Heliopan filter is indeed very helpful on bright days. But even with a step-up ring to 62mm the filter adds strong vignetting and changes the colours of your photos to a Pantone-ish style, as shown here. I didn't change the colours nor the vignetting of these original photos. Like it or not. I guess it is another tool to support the photographers creativity.

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The colour change is likely to be similar for any brand of vario-ND filter since they all use two polarising filters to attenuate the light getting to the front element.  We already know that polarising filters affect colours (bluer skies etc) so the combination of two polarisers together might well pass most of one colour at the expense of another.

I picked the Heliopan vario-ND because it was the only one of the several I tried that didn't add a faint "X" across the picture where the polarisers 'fight against each other'.

Pete.

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16 hours ago, 01maciel said:

The Vario-Heliopan filter is indeed very helpful on bright days. But even with a step-up ring to 62mm the filter adds strong vignetting and changes the colours of your photos to a Pantone-ish style, as shown here. I didn't change the colours nor the vignetting of these original photos. Like it or not. I guess it is another tool to support the photographers creativity.

I don't like the sound of your X Pete and given how much I like the f1.0 s colour palette the prospect of Pantones is not tempting me. Does anyone know whether a non-variable ND, with perhaps a slimmer profile to reduce vignetting, would be any better?

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2 hours ago, Sid Bolan said:

I don't like the sound of your X Pete and given how much I like the f1.0 s colour palette the prospect of Pantones is not tempting me. Does anyone know whether a non-variable ND, with perhaps a slimmer profile to reduce vignetting, would be any better?

Hi Sid,

I can understand your point of view.  Of course the easy way past colour shifts is to include a grey card in the shot and work of that in post-processing to bring the colours back to where they should be.  Not always convenient or possible of course

It all depends on how 'neutral' your neutral density filter really is.  I used to use the Heliopan 3-stop (ND8) ND 60mm slimline filter and it worked very well but I'm not sure whether Heliopan still makes them.  I moved to the vario-ND because I got fed up with screwing ND filters on and off during wide open daylight shooting as the light changed or the light on the subject changed.  I've stuck to Heliopan because their filters have always performed well.  (For full disclosure I have no connection to Heliopan other than as a satisfied customer.)

Pete.

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23 minutes ago, farnz said:

Hi Sid,

I can understand your point of view.  Of course the easy way past colour shifts is to include a grey card in the shot and work of that in post-processing to bring the colours back to where they should be.  Not always convenient or possible of course ...

Pete.

Would using a color profile generated with a X-Rite ColorChecker Passport work, or does the amount of colour shift vary with the amount of ND dialed in ?

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18 minutes ago, RoySmith said:

Would using a color profile generated with a X-Rite ColorChecker Passport work, or does the amount of colour shift vary with the amount of ND dialed in ?

I can't say for sure, Roy, because I don't use a X-Rite Passport but I expect that the amount of colour shift would vary with different amounts of ND dialled in.  I doubt that it would be as straightforward as 'more ND: more colour shift' because of the overlapping and additive effect of the two polarising filters that will tend to block some wavelengths more than others.  For example (let's call it) polarising filter A might be at 90 degree (rotationally) to polarising filter B and A will block different wavelengths from B and possibly produce a greater or lesser colour shift.

Polarising filters are quite 'blunt tools' in that they're designed to block light in one plane but not the other.  (Electromagnetic waves, including light, travel in two perpendicular planes and polarisers are designed to block light rays in either the horizontal or vertical plane.  It's why some polarised sunglasses go black when you get into some vehicles - the windscreen is blocking light in, say, the vertical plane and the sunglasses block light in the horizontal plane and the result is that no light reaches your eyes.)  The vario-ND filter uses this principle by cutting out both planes variably and therefore controlling (to your taste) the amount of light that's reaching your sensor.  

Polarising filters, in principle, should affect all wavelengths equally but in practice that's not always the case, which is why some people notice colour shifts.

Whether you or the software would notice a different amount of colour shift between different colours is an interesting question.  On the other hand, using an 18% grey card  would allow for correction across the colour spectrum.  If your X-Rite Passport includes an 18% grey card then you have the best of both worlds.

My apologies to anyone whose not now gently snoring for the lengthy post.^_^

Pete.

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3 hours ago, RoySmith said:

Would using a color profile generated with a X-Rite ColorChecker Passport work, or does the amount of colour shift vary with the amount of ND dialed in ?

I would believe that for each separate amount of ND dialed in, the amount of colour shift would vary when using a variable ND filter. I am also thinking that it could possibly further vary with higher numbers of stops and/or with longer shutter speeds.

If you use a grey card and possibly create an ICC profile in post, that should fix it (assuming no changes in lighting conditions when shooting).

The ICC profile would address how your camera sensor renders colours (vs an established standard), which goes beyond addressing the lighting conditions (colour temperature) of your shooting, which AWB or (better) a neutral grey card would do.

Edited by Hanno
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7 hours ago, farnz said:

I can't say for sure, Roy, because I don't use a X-Rite Passport but I expect that the amount of colour shift would vary with different amounts of ND dialled in.  I doubt that it would be as straightforward as 'more ND: more colour shift' because of the overlapping and additive effect of the two polarising filters that will tend to block some wavelengths more than others.  For example (let's call it) polarising filter A might be at 90 degree (rotationally) to polarising filter B and A will block different wavelengths from B and possibly produce a greater or lesser colour shift.

Polarising filters are quite 'blunt tools' in that they're designed to block light in one plane but not the other.  (Electromagnetic waves, including light, travel in two perpendicular planes and polarisers are designed to block light rays in either the horizontal or vertical plane.  It's why some polarised sunglasses go black when you get into some vehicles - the windscreen is blocking light in, say, the vertical plane and the sunglasses block light in the horizontal plane and the result is that no light reaches your eyes.)  The vario-ND filter uses this principle by cutting out both planes variably and therefore controlling (to your taste) the amount of light that's reaching your sensor.  

Polarising filters, in principle, should affect all wavelengths equally but in practice that's not always the case, which is why some people notice colour shifts.

Whether you or the software would notice a different amount of colour shift between different colours is an interesting question.  On the other hand, using an 18% grey card  would allow for correction across the colour spectrum.  If your X-Rite Passport includes an 18% grey card then you have the best of both worlds.

My apologies to anyone whose not now gently snoring for the lengthy post.^_^

Pete.

No snoring here. Thank you Pete for an excellent explanation. And thanks to RoySmith for reminding me of the benefits of using a colour checker. In truth it's so rare that I'm required to shoot anything with absolute fidelity that I can probably stop worrying about the variation between the variable ND or the fixed ND. That said I'm delighted to find myself surrounded by so much expertise.

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