And into the light.
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↑Leica M9 and Leica 75mm Summilux @ f/1.4.
Taken under the Freedom Arches of Nathan Phillip’s Square, Toronto, on a cold January night.
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↑Leica M9 and Leica 35mm Summilux FLE @ f/1.4.
The unusual clustering of people caught my eye.
On a technical note, this photo is stacked in more than one way: the clouds serve as counterbalance to complete the composition.
The image is courtesy of the Zeiss ZM 21/2.8. I don’t use this lens often, but when I do, I am always astounded by its rendering.
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↑Leica M9 and Zeiss ZM 21/2.8 @ f/4.
This is the final post of the series, which began here.
Here the morning light traces over the simple and the mundane… the light shifts imperceptibly and even the inert is now living, now breathing, now pulsating.
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↑Leica M9 and Zeiss ZM 21/2.8.
Parts I and II of this series are here and here.
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↑Leica M9 and Zeiss ZM 21mm @ f/2.8.
The focus was on the boat, of course, and you can see the out-of-focus treeline and fog in the background. Just how sharp is the Zeiss ZM 21/2.8?
Here is the 100% centre crop @ f/2.8 – this is the original file with no sharpening:
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↑ Zeiss ZM 21mm @ f/2.8 (100% crop, no sharpening)
Clearly the Zeiss, beyond being sharp and possessing incredible resolving power – beginning at f/2.8 – renders in a contrasty and substantial way (for lack of a better term)… elements seem to jump out of the image (the so-called 3D effect) despite the large depth of field a wide angle lens normally affords.
A truly remarkable lens.
The sun appears and burns the fog off the surface of Oxtongue Lake.
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↑Leica M9 and Zeiss ZM 21mm f/2.8.
The original Tunnel Commuting is here.
This time, I decided to use film and a different lens.
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↑Leica M2 and Voigtländer Nokton 40mm @ f/1.4.