New York PhotoPlusExpo 2016

brennanphotoguy said:
Did you get the R8 we had in the used dept at B&H?
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Brennan,

I got a deal from a friend. Mine also comes with the winder.

I find the 50 Lux "E60" to have rendering a lot like the Noctilux except without the dark corners. The focus is slow when compared to a 50 Lux-M.

I'm thinking that this could be a great rig for shooting tri-X at night at 800 ISO.

Cal
 
Another reminder. Registration is free before August 31st.

A group of us generally meet-up early before the opening to avoid the crowds/mob that happen around and after lunch.

This year let's use Loius Mendez as our landmark to meet-up after we get our stinking badges.

Cal
 
Calzone said:
Brennan,

I got a deal from a friend. Mine also comes with the winder.

I find the 50 Lux "E60" to have rendering a lot like the Noctilux except without the dark corners. The focus is slow when compared to a 50 Lux-M.

I'm thinking that this could be a great rig for shooting tri-X at night at 800 ISO.

Cal
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I know haha, we looked at it when you first got it.
 
brennanphotoguy said:
I know haha, we looked at it when you first got it.
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Brennan,

I'm on the waiting list to be called in 2-3 months to have the sensor replaced on my Monochrom.

I don't really have the cash for a new digital camera, but I can still go crazy with film. The R8 I figured out has a 1/8000 second shutter speed to exploit, so shooting Tri-X at 800 ISO will be my day-into-night film developed in Diafine. I can kill the light with shutter speed.

With my "slacker's brew" (Diafine) I get fine grain like Acros and medium format mid-tones.

Thinking about a F5 for use with my 24/1.4 AF-D for another film camera that has 1/8000.

Cal
 
How crazy is this?

I have about a $269.00 credit outstanding with Digital Silver Imaging that I have leftover from when I last took advantage of an offer, and I know that at PhotoPlusExpo they will likely offer the same annual pre-pay offer where you can buy $500.00 worth of printing for only $250.00.

So it costs $864.00 plus shipping to have a 48"x72" silver wet print made. Pretty much if I cough up $250.00 I could get really close to getting a Salgado sized print that is 4 foot by 6 feet. Of course I would give at least a 2 inch border so the actual print size would be 4"x6" smaller for a full frame Monochrom print.

I already own two prints that have an image size of 24x36 on 30x40 paper. I showed these images at the ICP seminar.

The two images that I am considering are: one is that panoramic view of the Domino Sugar Refinery taken from the Williamsburg Bridge that has the East River and Madhattan in the background; the other is that bookmatched interior/exterior shot from a balconey inside the AOL time Warner Building of Columbus Circle that takes advantage of polarized light that allowed the reflected mirrorimage from the interior windows.

Either of these images would almost be like adding a window to my apartment. Many of you are familiar with these two images. Which would you prefer if you were going to add a window to your living space?

Framing, if I can afford it likely would involve dry mounting, or not sure how long I can safely preserve a silver wet print rolled up in an archival tube, but I have to explore the pricing and impact.

Cal
 
O.K.

I know if some rich guy sees it he will want to buy it. LOL.

It is my way to beautify my ghetto. LOL.

It is another way to make my meager 650 square foot apartment appear bigger.

Also could be a way to disguise another large "Jersey Barrier" class printer.

So which image? Brooklyn and that gritty industrial feel near the waterfront, or Central Park and Columbus Circle in upper midtown?

In this case I think one of my crazy ideas makes sense. LOL. The image is printed large enough to imply a panoramic view because it is the size of a plate glass window.

Perhaps I'm not so crazy at all.

Cal
 
jsrockit said:
It would be cool to see a print that size of a photo I know. Go for it Cal!
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John,

Realize that the silver wet prints you saw were of these shots were 24x36 image size on 30x40 paper.

On further thinking out that the monster print will likely be dry mounted no borders are required so the full image size will be 48x72. $864 is not so bad for the printing, and then again I'm not paying that full amount, I'm saving $250.00 or 28.935 %. The real big cost will be the framing.

At 4x6 feet it pretty much is Salgado sized. Hanging on a white wall it should be stunning. With any kind of border the frame will be about the length of a couch.

The last time I talked with my guys at AI Friedman they told me they deliver by truck big jobs like mine. I think it will fit in my elevator easily.

I'm kinda favoring the old rundown gritty Williamsburg: one is that I lived there and my loft is in the shot; and secondly because that area has been and is undergoing a redevelopment. It is iconic in that the landscape has changed and is no more making it actually a relevant historic photograph.

I think the last time I got an estimate the cost of framing was around $1.2K. Ouch.

Cal
 
Call me an election year flip-flopper, but I changed my mind.

I was looking at the two images that I printed 2"x3" and use as refrigerator magnets and I discovered that the shot of Columbus Circle is the most appropriate for the window effect when printed big.

Cal
 
GAS ATTACK: Thinking of downsizing my kits to acquire a 28 Lux. I still love my 28 Cron and will keep it.

Anyways now I have to dig out all those Leica boxes...

Cal
 
jsrockit said:
Nah man, get a SL.... what's that extra stop going to do for you in the digital realm?
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John,

The idea is to use the 28 Lux on a SL, SLM, or eventually both. It might be that I really cull down to a MM, M6, SL and SLM to really streamline to the most basic and most simple. Anyways this is what I would have to do if I want to become an "Urban Gypsy" and city hop in retirement.

What is more crazy: owning 15-16 cameras; or owning only 4. To me it is likely more crazy to only own 4. LOL. With the bigger collection I am more "hedged" for opportunity. In a way culling down is a form of austerity.

If Leica comes out with a SLM then I can see really continuing selling mucho stuff to get a SL/SLM two body kit together.

Out of the "Camera Museums" collection, all except two are film, most are SLR's at this point. Anyways a drastic change might be ahead. I feel kind of excited, almost like day trading oil stocks right before oil peaked at $147.00 a barrel.

I figure I'll downsize the 21 SEM, black paint MP 0.85; chrome 90/4.0 Macro Elmar; and the MD2. All of the above are boxed. The MP has the 75mm frames stripped out, and both the MP and MD2 were overhauled by Sherry and remain fresh.

The 28 Lux is only "$6.2K. LOL. The 50 Lux "E60" should be a killer lens on a SL, but the cost of the adapter is $750.00 and it is not available yet. I played around at the Leica Soho store with my 50 "E60" mounted on the SL. What an ideal rig. I agree with Jeff that the focus indicator gets you almost as fast as autofocus.

I found the M-lenses to be too small and unbalanced, even my silver lenses that are extra heavy like my 50 Lux ASPH and the 90 Macro Elmar. Also the focus tab felt odd and the focus throw seemed too hyper.

To me the SL likes lenses that have some girth to them for a slower focus due to a larger radius. The 50 Lux "E60" seemed so primed. I can see a 28 Lux balancing well on a SL.

But you are correct that a SL might be a better purchase, but then am I getting ahead of myself if Leica builds a SLM?

I already own the "M" to "L" adapter. In the Leicastore they used a Novaflex adapter inconjunction with a M-L adapter like the one I own, but I believe the ROM reading is not interfaced with the two stage adapter. I will likely ask Godfrey how his system works because he uses the two stage adapter.

Anyways Klaus is correct; I have the hard assets to make a deal. What is not known is how or where the tipping point might be in culling down the film arsenal. As far as a M-Body I'm keeping the Wetzlar M6 because it is my first Leica, and secondly because it cannot be replaced due to its rarity.

Cal
 
I'm really glad I now own the SL. What a camera. All the struggles to nail the focus with my Noct-Nikkor are no more. In October at PhotoPlusExpo the GAS would of been worse.

The SL intergrates all my Nikon glass, my M-mount glass, and my "R" mount glass pretty seamlessly.

Anyways I await the new Leica "R" adapter and the AF 50 Lux.

The 50 Lux seems to be almost the same size as the 24/90 zoom, but only a tad shorter. My friends at the Leica Store suggest that although big there will be less elements and groups so the lens should be considerably lighter.

I want to know the price because I've been waiting for this lens almost a year. Today I have the SL out. Took some shots on my way to work with my 50 Lux M-mount.

BTW the SL with the Noct-Nikkor mounted is an amazingly sick camera and a true monster, but the images...

"Crazy is good," I say, and this rig is it.

Cal
 
jsrockit said:
I'm shocked that both of these weren't a higher priority for Leica. It's interesting to see you with a very modern digital.
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John,

The more I obsessed about the SL the more it made sense for an old gear whore like me.

First off is the VF'er and the focus aids that allow me to better nail focus on lenses that have mucho shallow DOF like my Noct-Nikkor. The optimized F3P uses every trick in the book, but does not come close.

Then I can use "R," "M" and even Nikon lenses. You know me: I Leitaxed a Leica 50 "E60" to mount on a D3X, but focusing was not the best. I think the SL is a great camera for me so I can exploit all the great glass that has been assembled over the years. In a way the SL is a Swiss Army knife for me. I can even exploit my LTM lenses. Basically one camera body can exploit all the small format lenses I own.

You got to know that I love the grip. LOL.

Cal
 
Calzone said:
John,

The more I obsessed about the SL the more it made sense for an old gear whore like me.

First off is the VF'er and the focus aids that allow me to better nail focus on lenses that have mucho shallow DOF like my Noct-Nikkor. The optimized F3P uses every trick in the book, but does not come close.

Then I can use "R," "M" and even Nikon lenses. You know me: I Leitaxed a Leica 50 "E60" to mount on a D3X, but focusing was not the best. I think the SL is a great camera for me so I can exploit all the great glass that has been assembled over the years. In a way the SL is a Swiss Army knife for me. I can even exploit my LTM lenses. Basically one camera body can exploit all the small format lenses I own.

You got to know that I love the grip. LOL.

Cal
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Makes sense to me Cal. Now, how will you completely "Monsterize" it?

Looks like the R to L adapter is coming soon? Saw on FB that Leica was advertising it. So, you'll be selling the D3x?
 
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