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dunkelblau

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Profile Information

  • Member Title
    Benutzer
  • Gender
    Male
  • Location
    Switzerland
  • Country
    Schweiz/Suisse/Svizzera

Converted

  • City
    northeastern Switzerland
  • Hobbies
    drawing, painting, running, hiking, cycling
  • Job
    Education
  • Your Leica Products / Deine Leica Produkte
    M9
    Elmarit 28mm asph
    Summicron 50mm
    Elmarit 90mm


    sold:
    M8
    Voigtlaender 4.5/15mm
    Summarit 90
    Elmar-C 90mm
    Voigtländer Nokton 35/1.2

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  1. dunkelblau

    Architecture

  2. dunkelblau

    Nature

  3. Yessss!I keep my VC 35/1.2 just for portraits. My favorite portrait lens. And are any of these faces distorted?
  4. Just to make sure we're talking about the same thing here and the original poster doesn't expect things that won't happen with a Leica M9: the viewfinder doesn't change, only the frame lines within the viewfinder do. You'll always see the same amount of reality when looking through the viewfinder, it's only the frame lines within the viewfinder which change depending on the lens you mount. The frame lines indicate what part of reality seen through the viewfinder is going to be projected through your lens onto the film plane / sensor. Reading your post and your wording I'm not sure whether this is clear to you. If you want the VIEWFINDER to change, there are magnifying adapters available.
  5. Today I stumbled upon a youtube channel with exceptionally thorough and witty how-to videos concerning the repair of Leica M cameras and Leica M lenses by one mikeno62. I wouldn't try to do any repairs myself but enjoy gaining some insight into the inner workings of my gear, so here goes: M Cameras (Playlist with 13 videos): M Lenses (Playlist with 14 videos): I'm in no way affiliated with the channel. Moderators, feel free to relocate this thread to any more suitable topic.
  6. Such an interesting and helpful website! Thanks for posting, winedemonium
  7. Agreed, the semi-circles on the pavement need to stay; they push the girl forward. They're like ripples on water after a stone has been thrown. They're beautiful. I'd try cropping 1cm on the right to reduce the black area(keeping the aspect ration 2:3). Should the cloud structure in the sky be a tiny bit more pronounced (without reducing the brightness of the sky)?
  8. I like this one a lot; I'd crop it a little tighter though and try versions in which either the light grey house on the left or a part of the black shape on the right is left out. There is a special light there, and the way the girl is carrying herself, determined to walk on forward uphill and into the light is so strong - and then there is a lot of space, no clutter. So, no, getting closer isn't always necessary, but it helps reducing the content of your frame.
  9. To me street photography is the taking of photographs in public places (indoors and outdoors, city and countryside) as opposed to pictures taken in a private place. Street photography is the taking of photographs without the photographer giving directions but rather influencing the picture by choosing, sometimes carefully, sometimes just on the spur of the moment, a point of view, a position, a camera angle and the moment in which to press the shutter. Street photography is the act of taking pictures of people one doesn't know (hmmm, some problems there). Answering the question however, what makes a 'good' picture in the tradition of street photography is something entirely different. The two questions shouldn't be confused. Yes, taking pictures of people one doesn't know IS street photography. As much as snapping a picture of an Elephant in a Zoo is wildlife photography and photographing ones spouse is portrait photography. A good street photo documents a place or a culture or an ephemeral moment of living life; it expresses how different elements in the frame (objects, people, the furniture of a public place) relate to each other. Or to the photographer. It shows poignant gestures and ways of moving and looking and interacting. Good street photography is concise; there's nothing there that isn't necessary. The frame isn't cluttered with things you don't need for your picture (this is why you need to get closer!) Good street photography has composition that makes it beautiful. This is hard. But composing a little peace for piano is hard too. There needs to be something going on with the light. Or with the colors. Or with patterns or lines or blotches of black and white. There is a balance in the framing, everything is where it should be. Good street photography needs to be beautiful or humorous (Humor is a form of beauty). A good street photo makes you go 'wow, this is really, really good; how on earth did this shot come about!? Marvelous!'. There you go;-)
  10. Thanks for that; my thoughts exactly. And if counting to ten doesn't help, IkJo, you should count to one hundred as far as I'm concerned. Bill made his points in a polite way and your two replies were beyond snidey. And no, I don't care, what past history the two of you have together, thank you very much.
  11. dunkelblau

    Lesesaal

    …was ich gemeint hab':
  12. dunkelblau

    Lesesaal

    Sehr schönes Bild; die Komposition finde ich noch nicht abgeschlossen: den Zeitungshalter ganz rechts weglassen und einen entsprechenden Teil des oberen Bildrandes und ganz wenig vom unteren Bildrand, wobei das 2:3-Format erhalten bleibt? (Die Schattendiagonale an der Wand würde damit stärker betont, der Schatten des Lesers kommt näher zum rechten Bildrand, es kommt mehr Spannung ins Bild?)
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