Archived posting to the Leica Users Group, 2012/05/17
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]Here: 7159638082_0e772d923c_z.jpg<http://farm8.staticflickr.com/7084/7159638082_0e772d923c_z.jpg> is the same sensor's spectral sensitivity curve without a colour filter array. Marty On Thu, May 17, 2012 at 7:40 PM, Marty Deveney <benedenia at gmail.com> wrote: > On Wed, May 16, 2012 at 6:06 PM, Marty Deveney <benedenia at gmail.com> > wrote: > > It does - the sensitivity curves of the CCD are very different to film > (any > > film). > > On Thu, May 17, 2012 at 1:12 PM, Lew Schwartz <lew1716 at gmail.com> wrote: > >> Is there a graphic of this anywhere? > > > I saw some graphs at my local dealer, but can't find them on the web. > There is a graph for another sensor in this post: > 7159637852_f17f2f07df.jpg<http://farm8.staticflickr.com/7220/7159637852_f17f2f07df.jpg> > at > RFF that looks generally similar. Also note that the currently available > cameras are all pre-production and Leica has told beta testers that > spectral response and its interpretation by the firmware is one of the > things that will be tweaked prior to full production. > > >> I most obvious & consistent thing >> I've noticed in my M9 -> BW conversions is that faces seem to fall a >> zone or two lower than I'm accustomed to seeing from film. > > > How are you converting? Channel mixing or dumping the colour data? If > you do the latter the skin tones do end up too dark, but they did the same > if you tried to print colour media onto B&W paper back in the day. I find > with proper channel mixing or an intelligent conversion program like SE Pro > that my skin tones end up exactly where I want them. > > >> There's an amazing amount of shadow detail to make up for this, so a >> little >> dodging looks terrific. > > > One of the things I am reminded of every time I use B&W film is that > getting enough shadow contrast (contrast, not detail) to keep me happy, and > balancing that with sharpness and overall tonality, is hard. One reason > I've resisted using digital more widely is that I only shoot in monochrome > and I've spent 2 decades (half my life) getting it right. I am painfully > aware that the problem with digital is still highlight rendition and > gradation, and when converting a digital file to B&W I have always felt > like I did when I first went into a darkroom - it works incredibly well > sometimes, but I don't know why, and much of the rest of the time it ends > up looking either only okay, or awful. > > It is now time; some of my last batches of film that I took overseas got > damaged by x-rays, so it's time at least for travel to go to silicon, not > silver capture. > > Marty >