LLL 50mm f/1.2 ASPH "1966"

Freakscene said:
In a digital monochrome file you can more easily select a luminance range, apply a mask and blend to eliminate the onion rings. You can do it from scans, but it works less well on, just from experience. Of course with 400 or nigher speed film you don’t usually have the resolution to show them. Just pandering to my own personal peculiarity, but the option is there.
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In truth, I can mostly live with the onion rings. I was more meaning the focus and recompose system of a rangefinder doesn't always agree with a lens that has such severe field curvature and focus fall-off. Through-the-lens systems on a digital Leica w/an electronic finder would yield better results (my Sony A7RII works, but the filter stack further exacerbates the curvature and weak edge performance).

The lens has its charms, but I think I need a break from it. I've been spoiled by the Voigtlander f/1 and it's more even performance.

Also, and unrelatedly, I have been working through a 100' roll of Fomapan 400 and I am very excited to move on from it. It has a flaw in the emulsion that runs horizontally through all 100'. Yes, I can clean it up, but It's harder to do that in some images...and it's been zapping my joy.
 
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Freakscene said:
In a digital monochrome file you can more easily select a luminance range, apply a mask and blend to eliminate the onion rings. You can do it from scans, but it works less well on, just from experience. Of course with 400 or nigher speed film you don’t usually have the resolution to show them. Just pandering to my own personal peculiarity, but the option is there.
Click to expand...
And...just to freak you out (okokok...this is too much onion ring for me):

Jenny by Jim Fischer, on Flickr
Leica M5, LLL 50mm f/1.2 '1966,' Fomapan 400 @ 200, Xtol 1:1...handheld at 1/8 of a second.
 
Slumgullion said:
And...just to freak you out (okokok...this is too much onion ring for me):

Jenny by Jim Fischer, on Flickr
Leica M5, LLL 50mm f/1.2 '1966,' Fomapan 400 @ 200, Xtol 1:1...handheld at 1/8 of a second.
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Nothing that a good Fortran program running scene segmentation, cell recognition, and smoothign algorithm could not fix.
Just like a piece of code my wife had me write almost 30 years ago for her 1MPixel microscope camera to do cancer cell recognition.
 
Sonnar Brian said:
Nothing that a good Fortran program running scene segmentation, cell recognition, and smoothign algorithm could not fix.
Just like a piece of code my wife had me write almost 30 years ago for her 1MPixel microscope camera to do cancer cell recognition.
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Of course, but Adobe’s smoothing algorithm is much more effective and sophisticated than I can write, and can be set to fade to the edges, or to be even, or any number of things. But anyway, I’ll go back to searching for photos online from the Noct-Nikkor to decide what I think of its out-of-focus rendition and/or how it renders specular highlights in the out of focus.

Marty
 
@Freakscene On the M Monochrom- when my code applies the Gamma curve it takes the 14-bit raw value and scales to 16-bits, changes the DNG fields to output 16-bit significant values. The idea is to avoid collisions, and have a reversible pixel.

GAMMA by fiftyonepointsix, on Flickr

Same code that I added the column restoration algorithm for the CCD.

Do the newer versions of Lightroom or other allow this type of conversion?
 
Sonnar Brian said:
@Freakscene On the M Monochrom- when my code applies the Gamma curve it takes the 14-bit raw value and scales to 16-bits, changes the DNG fields to output 16-bit significant values. The idea is to avoid collisions, and have a reversible pixel.

GAMMA by fiftyonepointsix, on Flickr

Same code that I added the column restoration algorithm for the CCD.

Do the newer versions of Lightroom or other allow this type of conversion?
Click to expand...

Yes, but I think it happens in Adobe Raw. The MM files were mostly ok, and when I expanded them out to 16 bits they looked very good. The 12 bit files from the 246 drove me insane. The M10M and M11M seem to output 14 bit natively but Adobe Raw expands them to 16 bit without any apparent problems.

That’s not what I’m interested in. I doubt I could write a script to identify the specular highlights to the exclusion of other areas of the same tone, smooth them and make them slightly tonally graded from the centre to the edge but not blur the edges. Lightroom can do that without any trouble.
 
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Freakscene said:
Yes, but I think it happens in Adobe Raw. The MM files were mostly ok, and when I expanded them out to 16 bits they looked very good. The 12 bit files from the 246 drove me insane. The M10M and M11M seem to output 14 bit natively but Adobe Raw expands them to 16 bit without any apparent problems.

That’s not what I’m interested in. I doubt I could write a script to identify the specular highlights to the exclusion of other areas of the same tone, smooth them and make them slightly tonally graded from the centre to the edge but not blur the edges. Lightroom can do that without any trouble.
Click to expand...
I know- I spent the 1980s developing image processing algorithms for digital imagers. It's fun, you get to see the results. In the 90s- went on to Optical Networks, and depended on my Wife to task me with image processing. These days- image processing algorithms just for my Leica DNG files. Just to relax.

But I'm not spending $2K on this lens just to write code.
 
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It looks like they are on the way>?
 

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