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The Leica M11 images thread


Al Brown

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Zug with M11 + Macro Elmar 90mm.

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M11     |     Summilux-M 1:1,4/50mm ASPH.

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vor 13 Stunden schrieb hdmesa:

...M11 and S3 don't share anything other than the Leica name and the same oversight to the pipeline. If anyone is seeing a similarity between the S3 and M11, it's because the S lenses render a lot like M lenses do

Color has more to do with the filter and the color management rather than the sensor architecture. Leica product specialist John Kreidler mentions at around 36:00 that M11 colors are reminiscent of S colors and at around 53:50 "That's one thing I would bring out about the M11, the camera captures the color that I see. And it's the first time, in a long time other than MF like an S3 that I'm really getting that same color reproduction."

I have an S3 and had an M10-R. Gave the M10-R back. Color in untouched DNGs was nothing like the S3 colors.

 

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8 hours ago, PeterGA said:

I agree- however the Fuji with Fuji glass is delivering far less (if any) chromatic aberration in high contrast areas....something I hope Leica address in future firmware upgrades....

Maybe compared to a regular M lens but not the CV APOs. Maybe I don't push them far enough to notice 🤷‍♂️ Other lenses like the 28 Lux have always had purple fringing in high contrast light when overexposed – the M11 just lets you zoom in closer, so the fringing appears more pronounced. It's also way easier to make a well-corrected large lens for 44x33 than a very small lens for full frame.

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3 hours ago, Chaemono said:

Color has more to do with the filter and the color management rather than the sensor architecture. Leica product specialist John Kreidler mentions at around 36:00 that M11 colors are reminiscent of S colors and at around 53:50 "That's one thing I would bring out about the M11, the camera captures the color that I see. And it's the first time, in a long time other than MF like an S3 that I'm really getting that same color reproduction."

I have an S3 and had an M10-R. Gave the M10-R back. Color in untouched DNGs was nothing like the S3 colors.

 

Falls under what I said about "oversight to the pipeline", and I defer to you since you own an S3. I still think a BSI S4 (if it uses the scaled-up M11 sensor as is used in the GFX 100S) will look more like the M11 than the S3 does, but we can't know that yet :)

With the GFX system, there was a huge change in image aesthetic between FSI (50S/R) and BSI (100/100S) even though Fujifilm is quite deliberate in keeping their film sims exactly the same across systems and sensors. My M10-R images reminded me of my GFX 50S/R images – My M11 images are impossible to tell apart from my my 100S images outside of resolution and ratio.

Does sound like we agree that the M10-R and M11 images are quite different.

Edited by hdmesa
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25 minutes ago, hdmesa said:

Maybe compared to a regular M lens but not the CV APOs. Maybe I don't push them far enough to notice 🤷‍♂️ Other lenses like the 28 Lux have always had purple fringing in high contrast light when overexposed – the M11 just lets you zoom in closer, so the fringing appears more pronounced. It's also way easier to make a well-corrected large lens for 44x33 than a very small lens for full frame.

Yes the bigger the lens size the easier to make them work well as we also see  in the L mount Summicron apos - dont have any issues with fringing...

Interesting you refer to the Voigtlander apos? - I have ordered a 50 apo lanther and a 28 and will be testing....my favourite 50 the Nocti can be a horror show in certain lighting situations - the 21SEM no problems - I will also be testing a 24 lux soon.

 

 

 

 

Edited by PeterGA
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vor einer Stunde schrieb hdmesa:

Falls under what I said about "oversight to the pipeline", and I defer to you since you own an S3. I still think a BSI S4 (if it uses the scaled-up M11 sensor as is used in the GFX 100S) will look more like the M11 than the S3 does, but we can't know that yet :)

With the GFX system, there was a huge change in image aesthetic between FSI (50S/R) and BSI (100/100S) even though Fujifilm is quite deliberate in keeping their film sims exactly the same across systems and sensors. My M10-R images reminded me of my GFX 50S/R images – My M11 images are impossible to tell apart from my my 100S images outside of resolution and ratio.

Does sound like we agree that the M10-R and M11 images are quite different.

Probably not.

vor 20 Stunden schrieb hdmesa:

S3 and M10-R share the same sensor tech. The M11 is more like the GFX 100S, IMO.

M11 color is similar to S3 color, GFX 100S color is not similar to S3 color, therefore, M11 is not like GFX 100S. GFX 100S colors look very Sony-like to my eyes. https://www.lensrentals.com/blog/2021/05/lensrentals-com-reviews-the-fujifilm-gfx-100s/  GFX 100S produces same skin tones as α7R IV https://www.lensrentals.com/blog/2019/10/a-studio-photographers-review-of-the-sony-a7r-iv/ 

Skin tones in Matt Granger’s S3 sample portraits (DNG download available here https://mattgranger.com/gear-talk/item/1285-medium-format-dslr-leica-s3) look more like M11 skin tones IMO.

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27 minutes ago, Chaemono said:

Probably not.

M11 color is similar to S3 color, GFX 100S color is not similar to S3 color, therefore, M11 is not like GFX 100S. GFX 100S colors look very Sony-like to my eyes. https://www.lensrentals.com/blog/2021/05/lensrentals-com-reviews-the-fujifilm-gfx-100s/  GFX 100S produces same skin tones as α7R IV https://www.lensrentals.com/blog/2019/10/a-studio-photographers-review-of-the-sony-a7r-iv/ 

Skin tones in Matt Granger’s S3 sample portraits (DNG download available here https://mattgranger.com/gear-talk/item/1285-medium-format-dslr-leica-s3) look more like M11 skin tones IMO.

Disagree. But this is an image thread, so back to that...

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Street Musician

M11+35APO

 

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Walk around Santa Fe, NM this afternoon/evening

M11 -|- 28 Summaron -|- f/16 hyperfocal -|- grain and vignette added in C1

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Story time with Dadima

 

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The dynamic range on the M11 rivals the S3.  The photo below was taken two stops underexposed to preserve the highlights, then processed in Capture One to bring up the shadows. This image is impossible with other cameras I have used. 

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A lady of some vintage. (My apologies if you have seen this before on the Noctilux thread.)
 

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Another vintage lady.
 


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I tried the WATE but ended up trading for the SE 21 mm.  This left me searching for a Super Wide lens and I ended up trying and loving the Voigtlander super-wide H III 15mm 4.5

I am quite impressed.  Used perfectly it is sharp, accurate, and quite capable of almost perfect pictures, but used at the photographer's discretion it has a very emotional output.  I like distortion on Super Wide images, and I find flare and some inaccuracies can sometimes contextualize better than perfect optics can.  I have always on other systems tended to shoot 50 and 100 and then all the way from 11 or 16 to 24.  Often skipping 28, 35 and 40.  I am trying to teach myself how to better use 35mm but then, I end up going back to the 15.  I'm just undisciplined.  Anyway.  Pictures!!

Note: the last image is a 8 sec long exposure with 2 stacked ND filters shooting from the lake. Hence the movement blur. and probably the extreme flailing.  Other images in that same series were very clean, but this one to me "feels" like I felt when I took it

 

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Edited by S Maclean
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53 minutes ago, S Maclean said:

I tried the WATE but ended up trading for the SE 21 mm.  This left me searching for a Super Wide lens and I ended up trying and loving the Voigtlander super-wide H III 15mm 4.5

I am quite impressed.  Used perfectly it is sharp, accurate, and quite capable of almost perfect pictures, but used at the photographer's discretion it has a very emotional output.  I like distortion on Super Wide images, and I find flare and some inaccuracies can sometimes contextualize better than perfect optics can.  I have always on other systems tended to shoot 50 and 100 and then all the way from 11 or 16 to 24.  Often skipping 28, 35 and 40.  I am trying to teach myself how to better use 35mm but then, I end up going back to the 15.  I'm just undisciplined.  Anyway.  Pictures!!

Note: the last image is a 8 sec long exposure with 2 stacked ND filters shooting from the lake. Hence the movement blur. and probably the extreme flailing.  Other images in that same series were very clean, but this one to me "feels" like I felt when I took it

 

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Nice shots! What didn't you like about the WATE?

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