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Posts tagged ‘Leica Monochrom’

Leica Akademie Street Photography Master Weekend Classes

Peter Turnley kids in boot© Peter Turnley

I love to learn and share. It’s the reason I have this blog. But this time, instead of just reviewing after the fact, I’ve decided to tell you about it before hand so you have a chance to join in the experience and give some feedback.

For those of you who have read my review of Leica’s Los Angeles Leica Gallery Opening (you can read it here), you will know that Leica wants to create a cultural Center for Photography. They envision a place where photographers, local and internationally can gather, hang out, share ideas, images, and experience.

This year Leica Akademie and it’s North American Manager, Tom A. Smith, the engine behind this grand plan, has put together a few street and photojournalism lecture/hands-on classes taught by photographers whom I’ve either taken a course or want to take a course from.

Now, I’ve taken a couple of Leica Akademie Master Class Weekends and they are really enlightening and raise your photography skills to a new level with the help of a guest Lecturer/Photographer. Last time I took one with Craig Semetko (you can read my review from my old blog here), I walked away taking better photos than I ever did before I walked in. And that’s because I had a greater understanding on what to look for and how to compose.

Leica Akademie Master Class Weekends

May 16th -17th – Los Angeles – Craig Semetko http://www.cvent.com/d/d4q2yr

Craig Semetko Monroe© Craig Semetko

Craig Semetko Who AM I© Craig Semetko

May 30th – June 1st – Los Angeles – Peter Turnley http://www.cvent.com/d/d4qsmg

Peter Turnley Kiss© Peter Turnley

Peter Turnley Eiffel© Peter Turnley

June 6th-8th – Washington, D.C. – Richard Bram http://www.cvent.com/d/x4qsmr

bram_FoggyWindowSoho© Richard Bram

Richard Bram Cones© Richard Bram

And what’s really great is that you don’t have to own a Leica camera. They’ll have a bunch of various Leica camera bodies like the M (240) or the M Monochrom and a huge array of amazing lenses you can borrow for each day you’re out shooting. It’s a great way to test and learn at the same time.

I’ve never tried it before but for those wanting a longer workshop experience, where you can bring your entire family or a group of friends, Leica Akademie’s  Tom A. Smith has organized three different destination locations. You can check them out at http://www.exclusiveresorts.com/Landing-Pages/Leica.

Please share! I’d appreciate if you could leave your opinion on any of these courses as well as the week long workshops by leaving a comment below.

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LEICA M MONOCHROM – Reality Check

L1000769-2-Edit

ISO 320, 1/125 sec, 35mm Summilux – by O

Since my “first impression” post back in September last year, O and I sold a few lenses and an old Nikon, just so proceeds could go towards a Leica M Monochrom and we haven’t looked back.

When the camera was first announced in May 2012, O was immediately sold on the idea. Me? I needed a lot of convincing because the price point was high, and it was limited to black and white. But then we were able to test the pre-production model and both of us fell in love with it.

In my previous post, I talked about the most important value any camera can give, whether it be a $1.00 toy camera or a Leica, is the ability to inspire you to grab the camera and shoot amazing or near amazing photographs. Well, it hasn’t changed at all. Actually, I lie. The desire to shoot beautiful photographs is stronger than before.

Leica Liker Martin Cello

ISO 5000, 1/1000 sec, 50mm Noctilux – by O

O sums it up the best. He says there is no excuse to not shoot good photographs anymore. Unlike color, where you can be lazy and decide if the shot could be presented in black and white or not, or slack off on the framing or composition (don’t tell me you don’t do this sometime), the Monochrom only works well when you understand the demands it has of you, the user/photographer. You have to rethink how you ‘see’. You are forced to think in black and white in order to capture the images you want.

This is because the image is recorded in shades of grey and tones and not the colors which our eye is accustomed to seeing in real life. Understanding this is the first step towards a creative process. You have to think about how you want the sensor to record the image. You have to consider many aspects of the photograph in order to capture what you want. This creative process is essential to the Monochrom, otherwise, it would be a waste of money. However little or strong it may be, you can’t run away from it.

M Tillmann 1.A Ewanglee

ISO 400, 1/45, 35mm Summilux

So if you think you are not creative, you actually are because of all the different aspects you must consider and answer before you press the shutter. For instance, the choice of more or less contrast will either harshen or soften the image, therefore changing the way you present the subject. The tones help define whether the image is more realistic or impressionistic. You can emphasize forms and shapes, thereby focussing the eye towards the subject with less distractions.

O believes that black and white has an inherently more impressionistic quality whereas color requires a great deal of thought and planning in order to give off the same level of impressionism.

So without further ado, let’s dive straight into the photographs and details of the performance of the Monochrom.

M Tillmann 12 Ewanglee

ISO 1250, 1/45sec, 35mm Summilux

DISCLAIMER!!!: My review is only based on the images I take and how user friendly the camera is. Some images have been post processed with slight crops (to straighten the shot) and pushing or pulling on the contrast, darks, and brightness in Lightroom 4. A few have been processed with Nik Silver Efex 2. That is about the only post work I do. And, my bias is based on if the camera helps me capture the image I envisioned. I am not knowledgeable about equipment from any technical point of view. So if any one expects to read detailed specifications or any tech reviews, there are other sites that have the expertise. You can go to L-Camera Forum here to find out a list of all the reviews of the Monochrom. You can check out all the specifications at the Leica site here.

L1022072-Edit

ISO 800, 1/2000 sec, 35mm Summilux

THE BASIC PHYSICAL

I love, love, love the stealth look of the Monochrom. No Leica red dot, no Leica name logo on top, just matte black metal with a fine textured leather finish. Simple and understated. In my mind, it’s the most elegant Leica in the M series. The clean lines are classic.

FRAME BUFFER

In Japan, there is an aesthetic called Wabi-Sabi, that is sometimes described as beauty that is “imperfect, impermanent, and incomplete”. It is a concept derived from the Buddhist teaching of the three marks of existence (三法印 sanbōin), specifically impermanence (無常 mujō), the other two being suffering (苦 ku) and emptiness or absence of self-nature (空 kū?).” (Taken from Wikipedia)

You’re probably wondering, “what in the world is she talking about?”… I’m just coming to it, so please indulge me a little more.

Leica Liker Hitchcock church

ISO 640, 1/500, 35mm Summilux – by O

From an engineering or design point of view, wabi may be interpreted as the imperfect quality of any object, due to inevitable limitations in design and construction/manufacture especially with respect to unpredictable or changing usage conditions; then sabi could be interpreted as the aspect of imperfect reliability, or limited mortality of any object, hence the phonological and etymological connection with the Japanese word sabi, to rust.(Also taken from Wikipedia)

Now to the point. On the pre-production model, we noted the Frame Buffer was slow. Well….it hasn’t changed. When you shoot over 4-5 single frames continuously, the frame buffer fills up and you’re forced to wait between 15- 30 seconds before it frees up. It’s a flaw that happens to me very often. That’s why I have had to reach into my Zen drawer and find a way to explain to myself why I must remain patient as little grasshopper should. 🙂

I hope Leica fixes this soon!

L1002492

ISO 320, 1/180 sec, 35mm Summilux – by O

ISO BUMP

The increase in ISO to 10000 make this camera low light friendly. It’s my go-to camera in the evenings. Stripped of the RGB filters, Kodak’s Truesense presents as pure an image as you can possibly get. To the best of my knowledge, there is nothing out there that comes close to purity than this one.

THE BEAUTY OF GRAIN

As I said in my last post, the most unique thing about this camera is the noise grain. It is just simply exquisite. The grain is not the digital hard edged type you get with the M9. It’s a soft film-like grain.

However, at 10,000 ISO, the Truesense sensor is pushed to its limit. The noise is extremely noticeable with a slight muddy nature (for my taste), although professional photographers like Jacob Aue Sobol has been able to turn it into an aesthetic. The highest I use is 6400, where the noise is acceptable and part of the aesthetic of the shot. But at 5000 you can get a near noiseless shot. My ideal range for night shots is 3200 -6400. During the day, I play between 640 and 3200.

TONES

I love the complex and refined tonal range of this camera. When you look at the images, the details are part of the lure. Hence, the grey nature of the RAW files. But that’s what is so great about the camera. You capture more detail than some negative films. Your RAW files let you make ‘informed’ choices on how to process the shot. You have more options to post the image than ever before.

L1002487

ISO 320, 1/125 sec, 35mm Summilux – by O

EXPOSURE
As mentioned in my last post, you need to underexpose the shot so don’t blow out your highlights. Unless you want to of course.

LCD SCREEN

I really hope Leica will replace the 2.5″ TFT LCD sapphire-crystal display screen with something comparable to any SLR camera out there. What they have on there is just subpar.

THE MENU

I was able to play with the new histogram that shows the raw data combined with a clipping display. I try to practice with it to see how my estimate of exposure is compared to the actual. It’s still a work in progress for me. A wonderful tool for those who are still learning.

Leica Liker Back

ISO 320, 1/4000, 50mm Summicron – by O

LENSES

The Monochrom makes every lens shine because the image is as pure as the lens. But O and I are of the opinion that the Monochrom is really made for sharp lenses like the APOs. The sensor captures every nuance of the image.

THE PRICE TAG

What can I say? I hate it because it hurts the pocket for those of us who have to count our pennies. But I understand it and am in support of the decision. It’s the only camera that is hand made. Regardless of the technology (good or bad), I love the fact that I am paying for some one’s livelihood. Someone who has pride in their work. Some one who gets excited when they can invent, to preserve and expand a legend, or bridge a gap between old and new, paint the logo on, put on the screw… well you get the idea.

In our society, we don’t seem to value individual input anymore. The bottom-line rules everything at the expense of people. You can’t compare products that are made from robotic assembly lines with ones put together by humans.

L1000947-Edit

ISO 2000, 1/60 sec, 21mm Super Elmar

CONCLUSION

The Leica M Monochrom is a milestone in camera inventions, just like when the ‘Barnack’ was invented to make cameras portable, or the first M(3) Leica was invented with bayonet interchangeable lenses, or when the M9 was born with its full frame sensor. This camera is a game changer in the world of full frame digital cameras. It is also the perfect evolution from negative film to digital without leaving the achievements of film in the trash. It tries to emulate the beautiful quality of film, yet still have its own unique quality. That’s a good thing.

You can read:

First Impressions of Leica M Monochrom (Pre-production model) Part 1 here.

First Impressions of Leica M Monochrom (Pre-production model) Part 2 here.

First Impression of the LEICA M MONOCHROM (Pre-production Model) PART 2

ISO 400, 1/350 sec, 35mm Summilux

A couple weeks ago, I wrote about my first impression of Leica’s M Monochrom camera. You can read Part 1 here. I promised to show a variety of images to give you a broader idea of how the camera captures black and white images. Well, here they are.

ISO 400, 1/500 sec, 35mm Summilux

Keep in mind, O and I only had two half days to play with the camera and we both struggled with “seeing in black and white” to really take advantage of the camera. We never really grasped the concept completely. It’s something you have to learn or re-learn, as the camera demands that of you.

ISO 400, 1/500 sec, 35mm Summilux

As I mentioned in Part 1 of this post, O and I are sold on playing more with the Monochrom. We can’t wait for the delivery our our new baby. We’ll be selling some Leica stuff soon to make way for it. So please keep an eye out for our eBay announcements within the next two months in Facebook, Twitter and Tumblr. It will take a couple months to prepare ourselves mentally to “let go” of some of our other other Leica babies. 😉

ISO 400, 1/350 sec, 35mm Summilux

By the way, this time I increased the resolution of images for a finer view.

ISO 400, 1/750 sec, 35mm Summilux

ISO 160, 1/500 sec, 21mm Summilux

ISO 400, 1/250 sec, 21mm Summilux

ISO 400, 1/250 sec, 21mm Summilux

ISO 400, 1/350 sec, 21mm Summilux

ISO 400, 1/500 sec, 21mm Summilux

ISO 2500, 1/350 sec, 21mm Summilux

ISO 5000, 1/90 sec, 21mm Summilux

ISO 5000, 1/45 sec, 35mm Summilux

ISO 400, 1/750 sec, 35mm Summilux

ISO 400, 1/250 sec, 35mm Summilux

If you missed Part 1 of the Leica M Monochrom (Pre-production Model) Review, then you can check it out here.

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