My Leica dealer informs me that the replacement for my defective Monochrom is on its way.
It looks like the waiting time for these unique cameras has decreased.
Hopefully this one will be okay.
—Peter.
My Leica dealer informs me that the replacement for my defective Monochrom is on its way.
It looks like the waiting time for these unique cameras has decreased.
Hopefully this one will be okay.
—Peter.
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Picture a young mother, sitting on a park bench on a beautiful and sunny early Autumn morning, with her two year old daughter by her side. The little girl is presenting a bouquet of dandelions to her mommy, who is intently watching her with an adoring smile.
Less than a month later, that young mom passes away.
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She was my wife.
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You’ll never see the photograph I took of her and my daughter that day… I’ll never show it.
It was taken on a cheap cell-phone camera, and it’s blotchy and blurry and the faces are barely recognizable. But it’s one of the most important photos I have.
You see, photographs for most of us are iconographs. In other words, they are only symbols that collectively represent and remind us of our loved ones and our experiences. They don’t need to be sharp on a screen or technically perfect, they only need to be clear in our minds and emotionally meaningful.
—Peter.
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Related posts:
Frames and
Let it Be and
Norway, 1965 and
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This is the second test shot (the first is here).
It may seem crazy to conduct “test shots” on well established Leica lenses, but the last lens I tried was front-focusing by several inches.
In this case, everything looks to be okay:
↑Leica M9 and Leica 28mm Elmarit ASPH @ f/2.8.
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100% central crop of above image:
(please click on the image to view at MAXIMUM size and sharpness)
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This 100% magnification clearly demonstrates just how sharp this lens is wide open at f/2.8.
Incredible really.
—Peter.
When I acquired my first rangefinder in late 2007 — the iconic Leica M8 — the two Leica lenses I purchased were the 50mm Summilux ASPH and the 28mm Elmarit ASPH.
Well, at some point along the way, I sold that little 28/2.8. That was a mistake.
It’s now back in the fold… and I’ve come full circle.
(I was wiser then than I am now.)
—Peter.
↑Leica M9 and Leica 28mm Elmarit ASPH @ f/2.8.
↑Leica M9 and Leica 50mm Summilux ASPH @ f/1.4.
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I’m often asked how I post-process colour in my images.
Well, more often than not, I don’t. I pre-process (my term). Let me explain…
Almost all photographers post-process (i.e., make image-enhancing adjustments, after a photograph is taken). What many novice photographers fail to recognize is the importance of pre-processing. Pre-processing involves identifying and harnessing natural enhancing elements in a scene, such as lighting, perspective, etc., before an image is taken.
In the case of this image, Boy, the soft light that was present after the sun set was harnessed to achieve a rich palette of colours and tones. This cannot be achieved in post-processing.
—Peter.
↑Leica M(240) CMOS sensor (image courtesy of CMOSIS).
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I’ve seen enough images now to finally go out on a limb.
My long-standing suspicions here, here, and in several other posts (too many to cite at this point) have been confirmed: the new M produces CMOS-like images.
Not a profound statement, I’ll admit. But true.
What do I mean by CMOS-like?
I mean smoother, more marshmallow-y, more… plastic vs. the crisper/more microcontrast-y CCD rendering from the M9/M-E/MM/M8. This is not necessarily a bad thing, but it is different. As expected.
(However, the banding I’m seeing in the early M(240) images is disconcerting. On a positive note, the files look richer, thanks to an increase in dynamic range.)
Now, in the end, does it really matter? This film image I posted a few days ago demonstrates that such technical considerations ultimately sub-serve content/emotion so…
No. None of the above really matters.
But, we all are free to choose our gear as we see fit. And I’ve made my choice(s).
—Peter.
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If you haven’t already done so, please consider signing my open letter to Leica.
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Related posts:
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“…I consider photographs records.”
—Aaron C. Greenman.
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41 yrs old. Lives in Brussels, Belgium, and has previously lived and worked on four continents. With a Bachelors of Art in Art and Architectural History from Amherst College, and an earlier career in newspaper journalism, Aaron has always been interested in photography’s unique balance between its technical and artistic sides, and his aesthetic sense is deeply informed by his journalistic training.
Leica M9 with the following lenses: Leica 24/2.8 Asph, Leica 28/2.0 Asph, Leica Asph, 35/1.4 Asph, Leica 50/1.4 Asph and Leica 90/2.8. Aaron uses the 35mm the vast majority of the time, with a little 50mm every once in a while for better reach or portraits.
“Perhaps because of my respect for the old tenants of journalism, I like living in relative ignorance about the capabilities of the digital darkroom. I do adjust exposure and sometimes levels, but I consider photographs records. My goal is to represent the three ingredients that I consider most important − acuity, color, and grain (the name of my website and, of course, my initials). The common striving for technical perfection I find boring, and it often drains the emotional value from an image.”
“I read constantly about both the technical side and artistic aspects of photography, and about my favorite photographers − Sebastião Salgado, Willy Ronis, Marc Riboud, Vivian Maier, among others. That being said, I have a very difficult time describing my own photography, and often find that I’m annoyed by others (over)describing their work. I’m content to let others either see or not see value in it, and interpret it as they see fit.”
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Today, I am very pleased to feature the distinguished work of Mr. Aaron C. Greenman.
Aaron is a passionate photographer whose work is heavily influenced by his previous experience in newspaper journalism and his interest in the graphic arts. Although he approaches his craft with discipline and dedication, he eschews the quest for technical perfection and heavy post-processing, choosing instead to place paramount importance on witnessing and recording content. It’s that content, captured spontaneously and without preconceived notions, that both guides and defines his work.
Also, Aaron employs black and white imagery to communicate his vision, to reveal the layers of everyday life, and to highlight the shades of grey embedded in a given moment.
Without further ado, I present several images from Aaron’s body of work. Please visit acuitycolorgrain to see and learn more.
[Also, his first retrospective may be purchased at acuitycolorgrain (US itunes).]
—Peter.
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My sincere thank you to Mr. Aaron Greenman for providing me with the privilege of sharing his work.
—Peter.
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