Another Person Who Appreciates the Zeiss ZM Sonnar 50mm f1.5 Lens

 

by Reed A. George

 

The Zeiss Sonnar 50mm f1.5 lens engenders a lot of debate in the photo community. Acknowledged by Carl Zeiss as an updated build of a classic Sonnar design, it does not have all the technical performance of say a modern Leica Summilux. It does have character. I own both lenses, and love them both. But, the Sonnar has more character than the Summilux. If I want near perfection, I use the Summilux. If I'm willing to take a chance and maybe make something more unique, I use the Sonnar.

 

(Click Here) to read an account of using the Sonnar on the blog DearSusan. I think it's nicely done.

 

Thanks to my friend Bill for alerting me to the DearSusan blog!

 

DMC-365.blogspot.com

 

 

Leica M9 - Still Something Special About It

 

Teen Style, Morning Light, by Reed A. George

Leica M9, Zeiss Sonnar C 50mm f1.5 Lens

iso 500, f1.7, 1/15 sec.

 

Yes, there's still something unique about how the Leica M9 sensor renders an image. Nothing in your face, for sure. But, this is basically the tonality that I had in mind when I made this shot on the way out of the house this morning. There's something subtle about the way this camera draws.

 

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Polar Bear Plunge - For a Great Cause

 

Last weekend, I happened into an unexpected event in Reston, Virginia, a polar bear plunge. It was a charity event, for the benefit of Camp Sunshine, a place where families with children battling cancer can go to relax and enjoy time together. (Click Here) to read more about the event.

 

As luck would have it, I had my Leica M9 and my Rolleiflex 2.8F with me. This post will show my color pictures, all taken with the M9 and Zeiss Sonnar C 50mm f1.5 lens, and a few with my new Leica Elmar C 90mm f4.

 

While it was unseasonably warm last Saturday, the water was still plenty cold. Here are the safety divers, clearing the diving hole of ice.

 

 

As you can imagine, an event like this attracts an interesting crowd of contestants.

 

 

When the event started, things got lively. I had a great location to shoot from as well.

 

 

People generally looked happy going in, shocked coming out, and downright uncomfortable after that.

 

 

And now, here are two of my favorites. First, my favorite shot of the jumpers.

 

 

And here's one of the crowd reflected in the icy water.

 

 

It was a very nice unexpected surprise, and I'm glad I was there to photograph it. I think I am indeed falling back in love with my Leica M9.

 

I'll post some images that I made with the Rolleiflex 2.8F tomorrow.

 

DMC-365.blogspot.com

 

From My Morning Walk in Tokyo

 

Tsukishima Boat, by Reed A. George

Leica M9, Carl Zeiss C-Sonnar 50mm f1.5 Lens

iso 400, f2.8, 1/750 sec.

 

I am in Tokyo today as I write this. One good thing about the jet lag I'm suffering with - it gets me out for sunrise walks and photography.

 

This morning, I took the morning train one stop from where I'm staying, to Tsukishima. It's a nice little island section of Tokyo, with some nice boats and morning reflections. I hope you enjoy the view. This is a jpeg directly from the camera.

 

DMC-365.blogspot.com

 

Dreaming in Monochrom(e) - Ilford Delta 3200 Film at a Concert

A few weeks ago, I posted digital pictures from a Keel Power Trio concert at Gypsy Sally's in Washington, DC. They were all shot on the Nikon D700, and processed in Lightroom to emulate Ilford Delta 3200.

 

(Click Here) to see that post.

 

I also shot my "Dreaming in Monochrom(e)" camera, the Leica M4-2, loaded with the real deal, actual Ilford Delta 3200 film. Here are the results:

 

 

 

 

Larry Keel Power Trio, by Reed A. George

Leica M4-2, Carl Zeiss C-Sonnar 50mm f1.5 Lens

 

Man, I really love shooting the M4-2, and Delta 3200 opens up a lot of opportunities for low light shooting. I typically shoot it as if it were rated at 1600, and have it processed normally at The Darkroom (thedarkroom.com).

 

This "Dreaming in Monochrom(e)" project has taught me so much. First, it reopened my ability to shoot film at live music events. It also refocused me on a style of monochrome images that I think fit my chosen type of music very well. In fact, it even transformed how I process my digital images from these events.

 

But the experience is giving me the distinct feeling that restricting any given camera to black and white only may not be for me. While I love shooting the M4-2 with TMax 400 or Delta 3200, I sometimes leave it at home because I've temporarily dedicated it to this project and am not using it for color. I would not be happy with a several thousand dollar digital Leica Monochrom that I couldn't carry without reservation any time I want.

 

I feel very fortunate to be around such great musicians. What could be better than bringing together two passions - live music and photography?

My Friend, Polly, by Reed A. George

Leica M4-2, Carl Zeiss C-Sonnar 50mm f1.5 Lens

 

 

DMC-365.blogspot.com

 

Dreaming in Monochrom(e) - Buddha in Snowstorm

Here are a couple of shots I made with Ilford Delta 3200 film in my Leica M4-2, at a Buddhist temple during a snowstorm. Both were made with the Zeiss C Sonnar 50mm f1.5 lens, one of my favorite lenses.

 

Wat Yarn in Snow, by Reed A. George

 

I selected 1/125-1/250 sec. for my shutter speed, in an effort to catch the falling snowflakes.

 

Parasol, by Reed A. George

 

I like how the statue's eye shows up in this image.

 

I wouldn't normally use high speed film for images like this, but it was what I had with me. I think it worked out pretty well.

 

DMC-365.blogspot.com

 

 

Dreaming in Monochrom(e) - Mink's Miracle Medicine Show

My friends Rudy, Melissa, and Erik, former members of the band Acoustic Burgoo, came together to play a show under Melissa's new band name, Mink. The show was at Cristina's Cafe in Strasburg, Virginia.

 

(Click Here) to find Cristina's. If you're ever passing through Strasburg, stop in for a "Sexi Mexi Combo!"

 

I shot the show with my "Dreaming in Monochrom(e)" camera, the Leica M4-2, and my new favorite black and white film approach, using Ilford Delta 3200 exposed at iso 1600, and processed by The Darkroom.

(Click Here) to learn about The Darkroom, the best film processing service I've ever used.

 

Melissa Finishing Up the Set List, by Reed A. George

Leica M4-2, Ilford Delta 3200 Film

 

I shot with two lenses, the Zeiss C-Sonnar 50mm f1.5, which is a modern remake of the classic Sonnar design, with the latest materials, technologies, and optical coatings. The second lens was my Leica Summilux 35mm f1.4 version 3, from the 1970s.

 

Mink and Friends, by Reed A. George

Leica M4-2, Ilford Delta 3200 Film

 

This was a very laid back show, which is sometimes nice. I got to hang out with my friends, have some excellent Mexican food, and move around and shoot as much as I liked.

 

Erik Burnham, by Reed A. George

Leica M4-2, Ilford Delta 3200 Film

 

We saw various combinations of the three performers, and when not playing on stage, Erik stayed busy playing off-stage, dancing with our lovely waitress (whose name I didn't get, sorry!).

 

Dance, by Reed A. George

Leica M4-2, Ilford Delta 3200 Film

 

Rudy B. and Erik, by Reed A. George

Leica M4-2, Ilford Delta 3200 Film

 

Erik and Rudy are in another band, The Plank Stompers. You'll see images from my frequent attendance at their shows as well here at DMC-365.blogspot.com. The shot below is from behind them on stage. That's Britt in the audience (with the beard).

 

 

Mink and Friends, by Reed A. George

Leica M4-2, Ilford Delta 3200 Film

Here is a shot that took advantage of the stage lights to play with some internal reflections and unpredictable properties of optics. Chance rather than design, I like how it turned out.

Erik and Rudy, by Reed A. George

Leica M4-2, Ilford Delta 3200 Film

 

I think I have a style for many of my concert images now, at least the ones I want to shoot in monochrome.

 

I'm in the process of testing a new color film (CineStill), to see if it can be an equally satisfying solution for color. I shot two 36 exposure rolls of it last night at a house concert; we'll see how that turns out in a week or so.

 

DMC-365.blogspot.com

 

Live Music, Film Emulation, This Time With the Leica M9

 

Will and Larry (of the Larry Keel Power Trio), by Reed A. George

Leica M9, Zeiss Sonnar C 50mm f1.5 Lens

iso 1600, f1.5, 1/125 sec.

 

I'm really having fun with this film emulation approach to my live music photography. Last week, I had the pleasure of seeing the Larry Keel Power Trio (aka Larry Keel Experience) twice. The image above is from the first show, at the Barns of Rose Hill in Berryville, Va.

 

I shot this image with my Leica M9, and used my Lightroom preset to emulate the contrast and grain of Ilford Delta 3200 film.

 

(Click Here) to read about my emulation settings in Lightroom.

 

I also saw the band a second time, in Washington, DC, over the weekend. For that show, I shot my Nikon D700, and used the same Lightroom settings to process the images. The preset works just as well with the D700 images.

 

For both shows, I also carried my Leica M4-2 (which I use for my "Dreaming in Monochrom(e)" series. I have two expose rolls of real Ilford Delta 3200 sitting next to me at my desk right now. So, I'll share those images in a week or so when I have results from the processing at The Darkroom (thedarkroom.com).

 

By the way, have a listen to the Keels. A quick search for "Larry Keel" on iTunes will get you plenty of results. I'd suggest the album "Classic" as a start.

 

DMC-365.blogspot.com

 

 

Dreaming in Monochrom(e) - Taarka (Live Music) on Ilford Delta 3200 Film

I recently wrote about how I wanted to try Ilford Delta 3200 for my live music photography.

 

(Click Here) to read about what sent me in this direction.

 

Well, here are my first results, from a great show by the band Taarka at the Barns of Rose Hill in Berryville, Virginia, on March 1, 2014.

 

 

 

 

 

 

I shot all of these with my Leica M4-2 (ca. 1978) and Zeiss Sonnar C 50mm f1.5 lens. On some of them I use just a tiny touch of fill flash (1/32 power on the compact Nikon SB30 flash). The shot immediately above is one of those. It helped to fill in some of the shadows.

 

I exposed all of these as if the Delta 3200 were rated at iso 1600, and had them developed by The Darkroom (thedarkroom.com) normally (as if shot at 3200). This decision was based on my previous experience with Delta 3200, where my negatives were a bit thin when shot at 3200. I found lots of references to shooting it this way (at 1600), and I agree.

 

So, how does Delta 3200 compare to Kodak TMax 400 pushed two stops to iso 1600? I think it did help me to tame the extreme high contrast of pushing TMax 400, which was one of my goals. The grain is more pronounced with Delta 3200, but I kind of like it. So, as far as I'm concerned, this experiment was a success. I'll certainly be shooting more Delta 3200.

 

(Click Here) to see how I've made presets in Lightroom to emulate Delta 3200 in my Leica M9 shots.

 

DMC-365.blogspot.com

 

 

 

 

Dreaming in Monochrom(e) - High ISO Analog!

I've been playing around, using my Leica M4-2 film camera as a test to see if I really want a Leica Monochrom digital rangefinder. (Click Here) to read more about it.

 

I said at the outset that I understand that shooting black and white film in a Leica M4-2 has its limits in terms of emulating the amazing new Leica Monochrom digital black and white rangefinder. For example, the Monochrom is noted for its great performance at high iso settings.

 

Well, I decided to "push" (quite literally) the high iso limits of the M4-2 by push processing Kodak TMax 400 film to iso 1600. It was quite simple. I just shot at exposure settings for iso 1600 instead of 400, then instructed my favorite processor (The Darkroom, www.thedarkroom.com) to push the film two stops. This cost an extra $2 in processing costs. Pretty reasonable.

 

Here are some results from a concert I attended. I'll start with one of my favorite local performers, Melissa Wright and her band Mink:

 

 

Mink, by Reed A. George

Leica M4-2, Kodak TMax 400 pushed to 1600

 

And a few more, these of the band Dry Mill Road:

 

 

 

Dry Mill Road, by Reed A. George

Leica M4-2, Kodak TMax 400 pushed to 1600

 

All of these shots were made with my Zeiss Sonnar 50mm f1.5 and Leica Elmarit 90mm f2.8 lenses.

 

As you can see, the contrast is pretty high in these shots. They don't have the amazing dynamic range of the modern digital monochrome. But, the film grain is quite nicely controlled in my opinion. In fact, I think these look better than equivalent shots with my digital rangefinder Leica M9 would at iso 1600. I may have to do that comparison to further convince myself. Already this little project is teaching me something about how much I can do with film and the M4-2. I haven't pushed a roll of film in years, and I feel that it frees me up to take the M4-2 along for shooting musical events that I would have only really considered the Nikon D700 for in the past. I'm pleased with that.

 

I also want to continue to extend this, seeing how TMax 400 holds up at 3200 and maybe even 6400. I'm sure it will start to degrade significantly at 6400. But, I think I may be able to pull of 3200 with no real problem.

 

From what I understand, Kodak TMax 3200 is no longer being produced, but Ilford Delta 3200 is. I used the Ilford film in the past, but found the grain to be very high at 3200. I liked that film much better at 1600. Considering that the Ilford 3200 is more than twice the price of TMax 400, I'm not sure I have much motivation to give it another try, especially when I can get this type of performance from the TMax.

 

DMC-365.blogspot.com