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Old 10-04-2012   #81
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Love the B&W, Richard. It really is quite good out of the camera!
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Old 10-05-2012   #82
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M9-P with a 1957 fixed 50mm summicron wide open

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Old 10-05-2012   #83
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Sunny 16 manual exposure, zone focus from where I was having lunch. ZM 35 C Biogon. M9 JPEG, slight lifting of shadows in LR.


Fitzroy by Richard GM2, on Flickr
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Old 10-05-2012   #84
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Guitarist

Here is one I taken with M9 and Vintage B&W jpeg

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Old 10-07-2012   #85
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M9 Summichron 35, tonemapped jpegs.
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Old 10-07-2012   #86
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Beautiful.
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Old 10-07-2012   #87
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M9 ~ Elmar 24mm f3.8 ASPH
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Old 10-07-2012   #88
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Probably the best shot I've gotten with my M9, and actually appeared in the NY Times last year



Shot with the 35/1.7 Voigtlander (probably at around f/2 @ 1/15th), and I think the ISO was 400.
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Old 10-07-2012   #89
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Quote:
Originally Posted by Vince Lupo View Post
Probably the best shot I've gotten with my M9, and actually appeared in the NY Times last year

Shot with the 35/1.7 Voigtlander (probably at around f/2 @ 1/15th), and I think the ISO was 400.
I well remember this one. It is a beauty.
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Old 10-07-2012   #90
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Old 10-07-2012   #91
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Her blowing hair in this is so cool.
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Old 10-09-2012   #92
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On the road...


LNK, October 05, 2012 by Maggie Osterberg, on Flickr


SFO Skytrain, October 05, 2012 by Maggie Osterberg, on Flickr


Arrival, October 05, 2012 by Maggie Osterberg, on Flickr


Oyster Shucker, October 07, 2012 by Maggie Osterberg, on Flickr
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Old 10-09-2012   #93
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Here a bw conversion from my M9:



and another one :

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Old 10-09-2012   #94
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I really like that one
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Old 10-09-2012   #95
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Untitled
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Old 10-09-2012   #96
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Quote:
Originally Posted by Richard G View Post
Sunny 16 manual exposure, zone focus from where I was having lunch. ZM 35 C Biogon. M9 JPEG, slight lifting of shadows in LR.
Have you seen the preset system in Lightroom? It can be set to apply a certain preset such as BW or film look to any RAW files during import. The beauty of this is that you can recover more data and even from BW to colour if you change your mind later.

Makes sense if you were going to edit your photos anyway. I shoot RAW + basic jpg in black and white for this reason.
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Old 10-10-2012   #97
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Quote:
Originally Posted by crispy12 View Post
Have you seen the preset system in Lightroom? It can be set to apply a certain preset such as BW or film look to any RAW files during import. The beauty of this is that you can recover more data and even from BW to colour if you change your mind later.

Makes sense if you were going to edit your photos anyway. I shoot RAW + basic jpg in black and white for this reason.
I only started shooting RAW with the M9 and it is amazing. My first surprise was that after importing there were all these beautiful pictures instead of the 1s and 0s for processing that I had been expecting. I went to a formal dinner where the lighting was either blue or red spotlights. This was terrible so I set up the camera for RAW plus JPEG fine Black and White and that was what the monitor displayed. Much more palatable. What I discovered later was that the M9 black and white jpegs are not only clever and often very good, but indeed they were so clever that I could not easily produce the same effect myself from the RAW file. This was particularly so for the grey hair of an older colleague, rendered beautifully in the JPEG. So I have fallen in love with the tonality and lovely blacks of the M9 JPEGs and have been using them quite a bit.
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Old 10-10-2012   #98
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More from the Summilux:


Look Over There, October 05, 2012 by Maggie Osterberg, on Flickr


A San Mateo Night, October 05, 2012 by Maggie Osterberg, on Flickr


At Kitcho Restaurant, October 05, 2012 by Maggie Osterberg, on Flickr


Michael Berch, October 05, 2012 by Maggie Osterberg, on Flickr

Gotta love the color capability of this camera:


The Benjaman Franklin Hotel, San Mateo, CA, October 05, 2012 by Maggie Osterberg, on Flickr
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Old 10-10-2012   #99
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CV 28/3.5, in-camera B&W:


The Rangefinder, October 07, 2012 by Maggie Osterberg, on Flickr
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Old 10-10-2012   #100
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Some more from last weekend in NYC :




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Old 10-10-2012   #101
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Klaus I love how you explore the upper ISOs on the M9: it's inspired me to try more at 1250 and 1600. Love that first shot here, and the second one. And the third. What ISO?
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Old 10-10-2012   #102
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M9, 35 Summilux ASPH
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Old 10-11-2012   #103
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Quote:
Originally Posted by Richard G View Post
Klaus I love how you explore the upper ISOs on the M9: it's inspired me to try more at 1250 and 1600. Love that first shot here, and the second one. And the third. What ISO?
Hi Richard,
the 2nd and 3rd shot are at ISO 1000, the 1st was at ISO 640. I posted these 3 also in my gallery with the data info. As long as you end up with a shot that is not blowing the highlights totally and you only have to readjust the exposure in post process a little (not more than 1 stop), then usually I am pretty happy with the results and I'm not a wizard in post processing, still in the learning curve in LR4 and I do not use any additional software to reduce grain and noise. Just not to overdo any recovery of shadows and blacks seems to work. Otherwise it looks artificial and is also not true what it looked like "live".
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Old 10-11-2012   #104
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M9, 35mm Summicron v4. A five second shutter, holding it steady on the roof of my car. I just had to try to get the mist curling off the ground at the end of the day.

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Old 10-11-2012   #105
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River City Tanlines at Gonerfest



White Mystery at Gonerfest
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Old 10-11-2012   #106
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That long exposure landscape is exceptionally fine, Harry.
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Old 10-11-2012   #107
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M9-p and the CV 28/3.5 at The WELL's oysterfest:


Beach Boy, October 07, 2012 by Maggie Osterberg, on Flickr


Stella BBQs Some Oysters, October 07, 2012 by Maggie Osterberg, on Flickr


Down the Hatch, October 07, 2012 by Maggie Osterberg, on Flickr
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Old 10-11-2012   #108
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More Oysterfest day pix:


Retro Rhett and his Polaroid 6, October 07, 2012 by Maggie Osterberg, on Flickr


Chuck, October 07, 2012 by Maggie Osterberg, on Flickr


Retro Rhett and his Polaroid 6, October 07, 2012 by Maggie Osterberg, on Flickr


Oysterwoman, October 07, 2012 by Maggie Osterberg, on Flickr


Scotch for Gophers, October 07, 2012 by Maggie Osterberg, on Flickr


Driving Home, October 07, 2012 by Maggie Osterberg, on Flickr


Mikey, October 07, 2012 by Maggie Osterberg, on Flickr


Crossing The Bridge, October 07, 2012 by Maggie Osterberg, on Flickr
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Old 10-12-2012   #109
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Maggie O, these pics are fun. I will have to dig my 28 f3.5 out again. When I first got my M9, I had difficulty getting the metering to be accurate with that lens. What lens do you input on the camera for your CV28?

Doug- that is a nice portrait of your friend
HTeasley- I really like the long exposure mist shot. It worked out well using the roof
Sevres-Babylone- I like that first B&W; would be fun to see it uncropped
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Old 10-12-2012   #110
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Quote:
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Maggie O, these pics are fun. I will have to dig my 28 f3.5 out again. When I first got my M9, I had difficulty getting the metering to be accurate with that lens. What lens do you input on the camera for your CV28?
I coded it as a 28 f/2.8 Elmarit, but even then, the metering can be a bit finicky if you're not used to its heavy center-weighting. The good news is that it is predictable with some use and eventually you get used to it.

Here's some more California pix, these shot with my 1st version 50 Summilux:


The Mixologist, October 08, 2012 by Maggie Osterberg, on Flickr


Gin and Tonics, October 08, 2012 by Maggie Osterberg, on Flickr


The Chicken Griller, October 09, 2012 by Maggie Osterberg, on Flickr (in-camera B&W jpeg)


At The Mac, October 08, 2012 by Maggie Osterberg, on Flickr


Chairs, October 08, 2012 by Maggie Osterberg, on Flickr


Vultures Over Pleasanton, October 08, 2012 by Maggie Osterberg, on Flickr


Michael Looks at Lenses, October 08, 2012 by Maggie Osterberg, on Flickr
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Old 10-14-2012   #111
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Thanks Maggie,

I am pretty certain that I would have used the 28 Elmarit setting as well when I last tried that lens, but I will play with it again. I have ansd usually use the 28 Summicron, but I have always loved the little CV 28.

I like these latest pics, but especially the composition of the Still Life with Schweppes!

David
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Old 10-14-2012   #112
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Thanks David!

I found it helped if I used the M9-P's VF like a spot meter almost. Oh, and I habitually underexpose by about .6 of a stop.
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Old 10-14-2012   #113
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This is the ZM 21 f4.5 which I have coded as the 21 2.8 pre ASPH. This is a crop, but only from the bottom. There is minimal purple fringing in this one.

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Old 10-15-2012   #114
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Last weekend :





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Old 10-15-2012   #115
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Last weekend :

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Old 10-15-2012   #116
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Was a family day but managed to snap a few shots when the Mrs wasn't looking


L9999971 by Kristian Dowling, on Flickr


L9999961 by Kristian Dowling, on Flickr


L9999956 by Kristian Dowling, on Flickr


L9999955 by Kristian Dowling, on Flickr


L9999952 by Kristian Dowling, on Flickr


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Old 10-15-2012   #117
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Maggie,

Thanks again for nudging me to give this lens another shot. After setting it as 28 f2.8 11809, metering is just fine. My dog pictured here, sat where he was comfortable while also dictating where I needed to be. At the same time, creating a metering challenge for me. I wasn't about to crop the rug in the foreground because I wanted to see how the lens would handle the entire frame. Not to mention keeping his paw intact!

This 28mm is really a great little lens. No appreciable vignetting wide-open; sharp corner to corner.

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Old 10-15-2012   #118
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Leicashot, I like #2 there especially
Klaus, the out of focus stuff in the fore is effective in the picture of lady behind counter. And the times setting is very nice!
Richard, that 21 4.5 certainly lives up to it's reputation. Is that you use for most of your architectural shooting?
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Old 10-15-2012   #119
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Quote:
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Maggie,

Thanks again for nudging me to give this lens another shot. After setting it as 28 f2.8 11809, metering is just fine. My dog pictured here, sat where he was comfortable while also dictating where I needed to be. At the same time, creating a metering challenge for me. I wasn't about to crop the rug in the foreground because I wanted to see how the lens would handle the entire frame. Not to mention keeping his paw intact!

This 28mm is really a great little lens. No appreciable vignetting wide-open; sharp corner to corner.
Looks pretty great to me, DWF!! Glad I was of help. It really is a great little lens, nearly an Elmarit.
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Old 10-17-2012   #120
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Pass Protection, Denver International Airport, October, 13, 2012 by Maggie Osterberg, on Flickr
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