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Fun with the Leica M Monochrom

Paratom

Well-known member
Do you guys leave a yellow-filter on the M246 most of the time? I am starting to use a M246 and from the experience with the original MM I found it usefull for most light situations. By the way I love the M246 from the first Moment using it.
 
V

Vivek

Guest
Do you guys leave a yellow-filter on the M246 most of the time? I am starting to use a M246 and from the experience with the original MM I found it usefull for most light situations. By the way I love the M246 from the first Moment using it.
Tom, AFAIK, you do not have/use any old lenses. So, IMO, absolutely no need for to be using any yellow filters on your lenses.

The old Elmar 35mm f/3.5 benefits from an yellow filter whereas the Summarit 35 f/2.5 (already with a sky high cotrast) does not need one.
 

Paratom

Well-known member
Tom, AFAIK, you do not have/use any old lenses. So, IMO, absolutely no need for to be using any yellow filters on your lenses.

The old Elmar 35mm f/3.5 benefits from an yellow filter whereas the Summarit 35 f/2.5 (already with a sky high cotrast) does not need one.
I understand that in one way the yellow filter can slightly enhance contrast in the sky, but I also think to remember that it can help to prevent blownhighlights. Can you conform this?
 

airfrogusmc

Well-known member
I understand that in one way the yellow filter can slightly enhance contrast in the sky, but I also think to remember that it can help to prevent blownhighlights. Can you conform this?
I have read that a filter like the Heliopan digital yellow 2x hits the sweet spot light wave links for the original MM. I use one from time t time and t one honest haven't seen much of a difference though I think I have read there is some technical evidence for this.

Here is something over at Rangefinder Forum about this:
Rangefinderforum.com - View Single Post - Monochrom tonal peculiarity
I used a Heliopan digital yellow 2x filter on the image that is in post # 4250 I think B&H stocks them.
 

docmoore

Subscriber and Workshop Member
I understand that in one way the yellow filter can slightly enhance contrast in the sky, but I also think to remember that it can help to prevent blownhighlights. Can you conform this?
Not true with the M246 .... it will decrease exposure but the meter will pick this up ... and from personal experience I can guarantee that you can blow highlights with yellow and light orange filters. Great for contrast
but may be excessive to some. I use a light orange ... more contrast than the yellow on a VC single coat and still get great mid tones.

The M246 is very difficult to use in varying light conditions ... even a -0.7 exposure compensation can not be enough ... say in a grove of trees where overall light is a bit lower the upper branches will disappear ...

You really have to get used to the idea of underexposing and then adjusting in post ... somewhat different than the original MM.


Here a some examples with the light orange with varying light conditions....


Leica M Type 246 VC 35 F 1.4 SC






















Such a nice camera.




Bob
 
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airfrogusmc

Well-known member
The original MM if you go over the info is just gone. Not like most raw files where it can be a little hot and you can pull it back , it's just not there in the original MM. You do get used to exposing like you would say Kodachrome where you are better being a little under to the left instead of to the right. I don't think the yellow filter keeps you from blowing highlights but the post I linked you to says it helps you get the best out of the original MM sensor and IIRC the is per Leica.
 
Sekonic has software that will identify the exposure required to avoid blowing highlights. You have to feed their software exposures taken of their gray scale using their upper end meter. Sounds kind of involved but not too bad.

When I went thru their drill on my CCD MM, I discovered under-exposing by just over 1 stop was suggested. So when I use a hand held meter, I set the ISO on the meter at 800... while the ISO on the camera is left at it's native ISO of 360. Works.

Don't know if that helps, but there it is. 1) Does confirm that the CCD MM sensor is not immune to blown highlights. 2) Gives you a metric data point and place to start.



The original MM if you go over the info is just gone. Not like most raw files where it can be a little hot and you can pull it back , it's just not there in the original MM. You do get used to exposing like you would say Kodachrome where you are better being a little under to the left instead of to the right. I don't think the yellow filter keeps you from blowing highlights but the post I linked you to says it helps you get the best out of the original MM sensor and IIRC the is per Leica.
 

Paratom

Well-known member
Just starting again to work with the M246 and I have not yet made up my mind if it is worth to underexpose 98% of the image to save some highlights in 2% of the image.
I am sure that there is plenty of room for bringing up shadows, but will it lead to the same tonality like correct exposed midtones?
I think I shall shoot some exposure variations during the next weeks.
 

airfrogusmc

Well-known member
Sekonic has software that will identify the exposure required to avoid blowing highlights. You have to feed their software exposures taken of their gray scale using their upper end meter. Sounds kind of involved but not too bad.

When I went thru their drill on my CCD MM, I discovered under-exposing by just over 1 stop was suggested. So when I use a hand held meter, I set the ISO on the meter at 800... while the ISO on the camera is left at it's native ISO of 360. Works.

Don't know if that helps, but there it is. 1) Does confirm that the CCD MM sensor is not immune to blown highlights. 2) Gives you a metric data point and place to start.

I have learned form experience and usually nail exposure. 40K plus and over three years with the same lens camera combo. I work fast on the street always manual settings so need to be able to just respond from a developed instinct. I have shot manually for over 30 years so I never think when shooting. It's just like driving a car or walking. Natural. I do my thinking before and after.
 
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