Archived posting to the Leica Users Group, 2006/11/08
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]>Date: Wed, 8 Nov 2006 23:43:58 +0100 >From: Philippe Orlent <philippe.orlent@pandora.be> >Subject: Re: [Leica] Autumn Color > >This is the first time that I read such a comprehensive description >of why people look(ed) for a typical lens signature. >.... >So thanks for showing, >Philippe ................................................................................ You're welcome. For years, I've been interested in how lenses differ. And I've bee particularly interested in forms of diffusion. I know that's heresy in a Leica group, but Leitz DID make the Thambar. I love the "plasticity" that the Hollywood cameramen achieved with various lenses such as the Taylor, Taylor, and Hobson Speed Panchro, or what they did with filters. Or the look the glamour photographers got with Veritos, Pinkham & Smiths, and Aldis objectives, etc. Once, I did comparative shots of a mannikin with LTM lenses - 85mm f/2 Nikkor, 85mm f/1.5 Lithagon, 90mm f/4 Elmar, and 73mm Hektor. I could see the differences in how various parts of the image were rendered; and I could decide which lens(es) I liked best for this use. Another series compared straight 135mm 4.5 Hektor, Hektor with DUTO filters #0 and #1, and Hektor with a piece of window screen over it, against my "Velmar". The Velmar gave the smoothest transitions between tones and was the most pleasing (to me). I love nice sharp lenses, too, but I think it's fun to have a variety of options available for differing subjects. Alan B^] Alan Magayne-Roshak Senior Photographer Photo Services Univ. of Wis.- Milwaukee Information & Media Technologies amr3@uwm.edu http://gallery.leica-users.org/v/Alan+Magayne-Roshak/