Per P.

I agree with Mr.Prime, and I would almost say that it is a trick question. A few years ago I reviewed my Lightroom catalogue and could see that at least 75% of my better pictures were made with either a 35mm or a 50mm. It was split 55/45 between those two with the 50mm being the ultimate favourite. In other words, so long as I have one of them I'm ok. But style and subject is a key factor. There are not just people in most of Peter Turnleys pictures, people is his subject. Period. And he goes close. I took a workshop on people photography one time, where I used the 35mm exclusively for a week. One of my learnings was that if I was more than 3-4 meters away then the picture didn't really work.

Well, I love the 24-90. To me it is the swiss army knife of lenses.

Ahhh - video. I had forgotten the SL does that too 🙂 Thank you very much for the clarifications. Much appreciated.

What, exactly, is L-log color space. And why would I want it?

Hank, I am so sorry that I only see your note now because I was out of action for some time. I bought my copy from Japan at the beginning of 2020. It is quite a special lens but already at that time I thought that $500 was a bit on the high side, all things considered. Given the current price level I might put it back on the market 🙂 Best, Per.

Good to see another Leicanista playing with these great little lenses. This was made with SL and an OM Zuiko 100mm F2.0 MC.

A few years back Martin Evening posted a detailed, very helpful, analysis of the differences between LR and C1. The short summary is they seem to represent different philosophies rather than a difference in quality. You can find it here: https://insider.kelbyone.com/adobe-lightroom-and-capture-one-pro-close-up-by-martin-evening/

I have played with Olympus Zuiko lenses for the OM SLRs. And a really good Zeiss 80-200 built for Contax-Yashica. All with Novoflex L-Mount adapters. Good fun.

I agree with all that was written about the 35-70. Within it's boundaries it is superb. BUT it is not very wide. Not very long. Does not handle out of focus that well. Jack of all trades, master of none. Nonetheless, within boundaries it is truly great and has produced some of my nicest pix.

@jonoslack Lovely video and so evocative in these non-travelling days. Jono, you got me started on the Fogg bags. Would this be the Last Waltz?

I use B&W XS-Pro 007 Clear and simply never think about them. They are quite slim, which looks good and supposedly reduces the risk of vignetting for very wide angle lenses. B&W have three models - F, XS and T. The glass is the same, just different thickness of the frame. F and XS have black frames whereas the T-Pro frame has a titanium-like gray colour, which I personally think looks a bit strange on a black lens. I have a couple of F-Pro but prefer the XS-Pro for aesthetics as much as for potentially reduced vignetting. All three are top-top quality.

Fair enough, I admit I missed that part 😂

@250swb I thought your last sentence was unnecessarily harsh. Until then my mouse was hovering over the applause icon, because your points are very well presented and you make a lot of sense IMO. However, everybody are at different stages of maturity and the learning curve

So, would you believe it, after singing the Billingham hymn for so long, I put a Fogg B-Laika on my birthday wishlist. It only arrived this week, so I cannot comment on functionality yet. First impression is that Fogg bags have heart and soul. And the quality of materials and craftmanship is wonderful. Whether you like the style is a personal matter, but I do. In terms of fit with my equipment needs it is perfect. But so was the Billingham Hadley Small and L2s. And many of the other obvious or less obvious candidates would also do. But someone who buys an M are likely to appreciate a bag with soul. For that purpose the idea of a Hadley insert (or an ONA Roma) is IMO an underestimated opportunity for going off-piste, often at a lower cost than with a dedicated camera bag. Just in case price matters. P.S. How did the Fogg happen? I blame @jonoslack - and not for the first time, but so far I never regretted following his lead 😀

Like you, I have been exploring presets that emulate film. I tried a sample from RNI but could not get anything like the tones you demonstrate. Mine all seemed very very dark and required quite a serious amount of additional processing. I like Nate Johnson's X-Crome a lot, and also use some of his color presets. They work similar to RNI v.4, i.e. with sliders plus some dark magic and he doesn't seem to update them any longer, unfortunately. But they produce lovely results, to my eye, usually with just additional adjustment of exposure (and WB for the color presets). It's a fascinating game