Archived posting to the Leica Users Group, 2003/04/19
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]Thanks, Mark, a lot of good thoughts. In fact I posted because I really like the Elmarit 135 2.8, a totally undervalued lens. I get as close as possible, move around a lot, not limited in any way other than by the orchestra pit. I can get right on the stage if I neither fall in it nor get in the performers' way. And the silence of the M cameras is a real plus. Look at the picture of Ilah Raleigh's eyes peeking out from behind the light veil, seen behind the legs of one singer. That happened very fast and was not predictible in advance. The speed and short lag-time of the Leica and the fact that I can see outside of the framelines made that much easier to capture. The cropping is done for impact. Much of the time holding the camera verticle (which loses time and is harder to focus) leads to empty space above and below. And often the sides are irrelevant. Working with a Hasselblad (I lurk on the HUG, too) led me to really appreciate squarish cropping (I am going to post again regarding an idea for a square Studio Leica). I use the Fujicolor Press 1600 film, the one marked "for professionals", "4th layer technology" and that is refrigerated. Is that the film you mean? It doesn't say NPZ but I understand Fuji makes a number of films. I love the film. And while of course slower film is better, there are times I need the speed. The picture I like the best, that of Darlene Enke with the red flag, was taken as the lights went down. Shutter speed was 1/50 or 1/30 at F/2.8. What it conveys, the contrast and saturation boosted in Photoshop, speaks more to me than any of the other sharper and more correctly exposed pictures. At times I get right on the stage, just feet from the performers, and I know that while they love seeing the pictures they do not want me to interfere with their concentration or movement. I must be quiet! And I try to document the entire performance, where the light levels vary a lot. Without ending up in the orchestra pit. It is sort of like being a war photographer. So that is why I've ended up with the compromise of three M6s, with the 50 Summicron, 90 APO, and 135 Elmarit. While there are times I would like the 135 to be a 180 or faster, it is not all the time, and which lens would it replace? It is already tricky with three cameras around my neck at one time. So I LOVE MY LEICA M and think that the compromises are acceptable. Given that, if I could add the 180 reflex and have it handy, I suspect I would do it. And only use would tell me if it were better. Jesse - -- To unsubscribe, see http://mejac.palo-alto.ca.us/leica-users/unsub.html