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First leaks about Zeiss lenses

Thanks Marc, I think you're quite right about the random grain structure of film giving a very different look to the uniformity of digital. It is of course a question of choosing the right medium for the job. I still prefer film for many landscapes, but wouldn't swap back from digital for wildlife.
And I do like the jazz simile :)

One thing puzzles me about dynamic range with digital:
If I drag the exposure slider left, what appear to be overexposed areas suddenly reveal hidden detail. If this detail is there in the raw file, why do raw developers not use the information unless underexposure is selected?

Rather than creating two tiff's (1 underexposed and 1 over) and blending them, surely it must be possible to widen the scope of what information is used in the first place.
I've used DPP, CS2 and Raw Shooter Premium, but none seem to use the full dynamic range of the sensor.

Nicely caught moment btw, the girl's hand position adds some curiosity to the shot.
 
Just to jump in on this topic.
Marc, I love the model shot, did you 'design' it that way for the client, or for us? The tonal range and colour is georgeous and the detail is suberb as well.
As for you street shot, WOW!! As you say with film the capture of detail at both ends of the light spectrum is brilliant. It's amazing that the more we practise our arts, the more talented we become at them. I love the way the girl in the foreground is walking, (nice to see a girl walking without slumped shoulders) the way her hand is flung back, the legs at the back of the van, the selective focussing, etc,.
If we still had the old voting system I would give it an unequivocal 10.

All the best,

Paul
happy.gif
 
Thanks. Yeah, the girls hand was a little bonus in that shot. I waited for her to be in the right position and she did the rest. It was shot with a Leica M7 with 50/1.4 Asph BTW.

The model shot is one of a bunch for a high-end spa & salon. In reality, they are almost mug shots for entry into an international hair styling contest.

Dynamic range of digital can be expanded with careful processing and techniques, but it always leaves something to be desired.
 
Great shots, Marc, both of them. I love the Chuck Taylor shod feet under the van door.
 
Marc -- Your work is always inspiring. I am interested in the comment on the randomness of the grain structure in film as compared to digital. Maybe the next iteration of digital will have an algorithm for accomplishing some of this. Can it really be all that hard? Very interesting.

I am just catching up on this site after a long period of other things. I just would like to voice my dissapointment in the ND light handling capabilities. Unless it is a very bright day or you use studio lighting (which I don't have), this camera continues to frustrate me on its speed. The lenses are wonderful and crisp as long as I can achieve a decent shutter speed at ASA 100, but I seem to always have to underexpose and open up all the way, and then there goes my depth of field when I need it. It's especially annoying when taking candids since a tripod can only stop my shake and not the subject's. Am I doing something wrong or is it time to switch to Canon?
 
Irakly, (and all) ...

Amazing discovery !!! Today I received the three boxes of Crane's Museo Silver Rag ink-jet paper that's touted as being the "Death of the darkroom" ... because it looks, feels and displays like a conventional double weight Silverprint.

I can't believe it, but it's true.

I've printed a bunch of the Leica M NYC shots, including the one above, and damned if I would be able to tell them from silverprints. Super deep blacks, sparkling whites and beautiful tonal gradations.

If you shoot film and scan for printing on a ink-jet, this paper is a must IMO.

http://www.crane.com/museo/
 
Marc, very intesting news on the paper front! I am tempted to try some, can I ask what printer you are using to produce your prints?
 
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