I am back in the Leica world and bought the 75 for the M10 with the Q in a 2-camera setup. Really like it. I do find it renders a lot warmer than for instance the Q does. Any thoughts on that?
Looking at the street tiles, the M10 looks a bit more reddish / purple, Q a bit yellow/greener. Is the WB for both cameras set at a fixed number- say 5500K? Am not surprised at the differences, particularly with the artificial lighting in the background. BTW my Leica lenses have different color renditions between them - for example the 50mm Elmar-M is pretty 'yellow'. Looks like a minor WB adjustment in post is in order.
I am back in the Leica world and bought the 75 for the M10 with the Q in a 2-camera setup. Really like it. I do find it renders a lot warmer than for instance the Q does. Any thoughts on that?
Color perception is >100% subjective, but to my eyes the color in the 75 image is vastly better than the Q image. Here's my question: I always wonder whether color differences can be trivially fixed with white balance, or something more subtle happens. So, what would the comparison look like if you used the color temperature eye dropper on each image on the same part of the white car?? Would *any* difference remain? If not, then it just doesn't matter. If so, then that's interesting.
I am back in the Leica world and bought the 75 for the M10 with the Q in a 2-camera setup. Really like it. I do find it renders a lot warmer than for instance the Q does. Any thoughts on that?
I've got the Voigt 75 (on an M-P) and a Q2. +1 for nice pairing.
Although, I'm currently in a strong 40 Cron mode.
Anyway, as to color diff's I didn't recall anything about the VM75 particularly noticeable for color variance. Are you judging this warmth variance based on controlled, standardized testing, or just seat of the pants, in the wild shooting?
ertos74 wrote:
white balance as it was.
The reason I ask, is that in the two scenes that you've presented, one has a fair amount of blue sky in it, the other one does not. If you are using AWB, the make up of the scene diff's can influence color WB diff's. Also, the magnification amount and the angle of incidence to your source light (artificial vs. skylight, etc.) can also influence the WB diff's. So, if just going by these (or others, as captured), there are enough potential variance in the scene and AI=AR between the 75mm and 28mm to impact the source lighting influence on color balance calcs from the AWB.
Seeing some of those bright green lights in the scene, the "add magenta" could be keying in on that bright spot to influence assumed neutral. In the Q image, those same bright green lights are much smaller in the scene. Also, in the Q image, the amount of cool sky and warm artificial light ... they counter balance to a degree.
Point being, despite the fact that I can readily see the diff's in the pics ... I wouldn't read too much into it from the posted pics. Find your key light for your subject. Find your neutrals in your key light and adjust to neutral. Of course, that's if you want your rendering to present neutral. If you want the ambiance of the scene to dictate your colors, then it can vary to taste.
Got mine 2 weeks ago to use on the M246. Great results so far, though it is tricky to focus with the rangefinder, I need to take my time to make sure it is bang on. The only thing I don't like is the handling, it is a bit of an odd shape with all the different widths and the aperture ring could be a bit tighter really.
panos.v wrote:
Got mine 2 weeks ago to use on the M246. Great results so far, though it is tricky to focus with the rangefinder, I need to take my time to make sure it is bang on. The only thing I don't like is the handling, it is a bit of an odd shape with all the different widths and the aperture ring could be a bit tighter really.
Yeah, the throw on it is a bit tricky at certain distances. For uber-precision things, I'll go to the LCD or Visoflex sometimes. If I want to frame fast, I'll stop down a smidge for some wiggle room. The ISO penalty of a stop or so isn't a big deal these days.
Several of the M Voigtlanders seem better suited to EVF cameras, where the dual benefits of steady VF viewing from IBIS and in particular focus magnification make focusing very easy and fast at max aperture, and in fact the rapid turn (around 90-100 degrees) of the focus ring comes to the fore.
It's one of life's little ironies that the best MF lenses of recent years were made for systems that lack both these features - be they DSLRs or rangefinder cameras. Dustin Abbott tested the last Otus on a mirrorless for exactly these reasons.
