Leica Lovers Anonymous

They've pulled out all the stops with that one. I shall have to stick to Tri-X in my M4, though.

Allen thanks for the link - afraid to watch it and what comes next. The M246 is so good. An M10 version would make the Monochrom even better but I'm not sure it warrants me replacing. What's your take as a Monochrom owner?

REDDOTT wrote in post #18995257
Allen thanks for the link - afraid to watch it and what comes next. The M246 is so good. An M10 version would make the Monochrom even better but I'm not sure it warrants me replacing. What's your take as a Monochrom owner?

I will be getting one at some point in the future. Probably late this year or early next year. The newly deigned sensor will be a big reason. Not so much for the resolution 40MPs but the fact is was designed to be a B&W sensor only. Not a sensor already made with the color array removed like the previous two were. Also good files at 25,000 ISO and usable at 50,000. My original MM tops out at 6400. It goes to 10,000 but it is really not that usable. I know that my M 10 is really good to about 12,500 but not much above that. This M 10 Mono is two stops better. And then there is the really quite shutter.

Waiting for my own Monochrom stuff to come back from the lab ... three rolls of Tri-X and one HP5 all pushed to 1600. It was fun shooting black and white film, and I can definitely see the appeal of the Monochrom. You really have to use your imagination to try and think in Black and White, or in tones, knowing that when you press the shutter any colour is gone forever. I found I ended up making pictures of certain things I wouldn't have bothered with had I been using colour film, and very rarely the reverse since I was mostly using the black and white film in Britain during the winter where there is far less colour than I'm used to now I live in Spain, and the weather is cloudier, more overcast and generally more suited to black and white anyway (hence buying the film).

These, however, are from a colour roll from early November - a lottery advert and a beer delivery truck. These two pictures would probably been fine on Black and White film but I find myself wanting to use Colour in Spain because generally speaking, there is a lot of nice colour and nice golden light to work with.

Some pictures from the M4 Monochrom ... also known as Tri-X.

The second one actually came about because of the M4. Traffic came to a complete standstill on the M6 (motorway ... if you've driven it, you'll probably have been stuck in a traffic jam there) and when we heard the truck next to us switch off the engine we knew we weren't going anywhere fast and my Dad went to get some stuff from the boot; and I went to document the scene as was my responsibility. Turns out the trucker is also into Photography and asks whether I'm using a 35mm lens. A conversation then strikes up and I swap between chatting and documenting.

Just treated myself to a New D-Lux7 - I know I Know it's a rebadged Pany, but still at my age I want the Red Dot.. Happy snapping. L

Hi all! Here are a few that I shot with my M3 and Noct f1. Cinestill 50d All wide open with no adjustments made after scanning. I hope everyone is having a great weekend,

I found this interesting article comparing all three(MM, M246 and M 10 M) Leica M Monochroms.
http://www.jeffreyhugh​es.net …/leica_m10_mono​chrom.html

Morning all,

I think I'm going to pick up the Voigtlander 35mm f/1.4 shortly. I have been satisfied enough with the results from my little Jupiter 8 so if I'm going to spend the money on a lens, I figure I might as well get a different tool for my kit rather than a slight improvement on the same tool. Allen, I know you rate the Voigtlander 50mm f/1.2 highly and I had, ostensibly, been saving for this but it is quite a bit larger than the f/2 lenses, and I'm not sure that's what I'm looking for - plus I think it's time to pick up a different tool.

I've been using 50mm almost exclusively for a while now, but I think a change is due because I've possibly got too used to looking at things in a particular way. I put my 40mm lens on my DSLR the other day and initially struggled because I was still trying to use it like a 50 ... which, of course, it isn't. I made one particular picture and suddenly it clicked - this was a different tool with a different set of strengths. It also clicked as to why I've been a bit nonplussed about my pictures lately. Using a wider lens I could add a lot more depth and layering to the compositions than with the tighter, more flattened perspective of the 50mm.

All in all, I think I'll give the 35mm a go. This possibly sounds like classic G.A.S. but I do think it will do me good, creatively, to work with a different focal length - I think my work lately had become pretty set and somewhat repetitive working in the same way with the same focal length for a long time. I don't think it's good to be doing the same thing all the time, and I do think it's good to challenge myself to learn to use a new focal length well.

Hope all are well - stay safe.

Owain Shaw wrote in post #19072172
Morning all,

I think I'm going to pick up the Voigtlander 35mm f/1.4 shortly. I have been satisfied enough with the results from my little Jupiter 8 so if I'm going to spend the money on a lens, I figure I might as well get a different tool for my kit rather than a slight improvement on the same tool. Allen, I know you rate the Voigtlander 50mm f/1.2 highly and I had, ostensibly, been saving for this but it is quite a bit larger than the f/2 lenses, and I'm not sure that's what I'm looking for - plus I think it's time to pick up a different tool.

I've been using 50mm almost exclusively for a while now, but I think a change is due because I've possibly got too used to looking at things in a particular way. I put my 40mm lens on my DSLR the other day and initially struggled because I was still trying to use it like a 50 ... which, of course, it isn't. I made one particular picture and suddenly it clicked - this was a different tool with a different set of strengths. It also clicked as to why I've been a bit nonplussed about my pictures lately. Using a wider lens I could add a lot more depth and layering to the compositions than with the tighter, more flattened perspective of the 50mm.

All in all, I think I'll give the 35mm a go. This possibly sounds like classic G.A.S. but I do think it will do me good, creatively, to work with a different focal length - I think my work lately had become pretty set and somewhat repetitive working in the same way with the same focal length for a long time. I don't think it's good to be doing the same thing all the time, and I do think it's good to challenge myself to learn to use a new focal length well.

Hope all are well - stay safe.

I have never shot with the voigt 35 1.4 but I have read and heard VERY good things about that lens. I tend to see naturally at 35 so for me that is the one lens I could do just fine with if it were the only lens I had. Once you have it and you have been using it post some of the results here.

Stay safe,
Allen

airfrogusmc wrote in post #19072218
I have never shot with the voigt 35 1.4 but I have read and heard VERY good things about that lens. I tend to see naturally at 35 so for me that is the one lens I could do just fine with if it were the only lens I had. Once you have it and you have been using it post some of the results here.

Stay safe,
Allen

So much of your street work is done with the 35 - and it is perhaps the classic street photography focal length. Also good for environmental portraiture that you do a lot of professionally, so I can definitely see why it would be your Desert Island lens.

I got on really, really well with the 40mm for ages, then I went to 50 for a couple of projects and I just got stuck in the habit of using it. I feel like my work has stagnated a bit using the same focal length all the time, and that I'm not challenging myself to see differently. 50mm forces me to think and work a little bit to make the compositions work - and I do think that discipline has been good, especially with the two projects I did. I always felt like 40mm sat very well with my natural way of seeing, and it is that bit wider - though not quite 35. In any case, I think it will be good to learn to use 35mm well because mastering a particular field of view does take time and practice, as you know.

I have the money to spend right now but I'm going to try and wait until next month. I do want to pick it up before summer though as I think having a slightly wider lens will help with a few things I want to photograph over the summer.

Owain Shaw wrote in post #19072239
So much of your street work is done with the 35 - and it is perhaps the classic street photography focal length. Also good for environmental portraiture that you do a lot of professionally, so I can definitely see why it would be your Desert Island lens.

I got on really, really well with the 40mm for ages, then I went to 50 for a couple of projects and I just got stuck in the habit of using it. I feel like my work has stagnated a bit using the same focal length all the time, and that I'm not challenging myself to see differently. 50mm forces me to think and work a little bit to make the compositions work - and I do think that discipline has been good, especially with the two projects I did. I always felt like 40mm sat very well with my natural way of seeing, and it is that bit wider - though not quite 35. In any case, I think it will be good to learn to use 35mm well because mastering a particular field of view does take time and practice, as you know.

I have the money to spend right now but I'm going to try and wait until next month. I do want to pick it up before summer though as I think having a slightly wider lens will help with a few things I want to photograph over the summer.

For me a 35 is the way I naturally see and for me and the way I compose is all just a natural response. It has taken decades for me to figure all this out and working with all kinds of F/L and camera's over the years has all got me to this point.

My very first attempt to develop film. Leica M-A, Summicron-C40/2 @f2, Ilford PAN 100, ISO 100 Adonal 1+25 9'

Good job!

Thank you, Allen.