Thank you so much for this! Very interesting perspective and results on the 35mm APO and Summilux FLE. Yes, the film stock does matter , and I really liked the shots. Especially 6:19, as you mentioned. Once again, thank you!
so a couple of thoughts. firstly, every true apo lens I've used has had somewhat "muted" colors, right from the beginning with a Leica 100 APO macro lens. this can vary a bit within the Leica lineup; some lenses like the v5 50 cron and the 90AA (which is quite an old design at this point) are quite muted then you get into the 21SEM/24EM and those seem almost crunchy. I would say the 35 FLE is more in that latter group. in terms of not editing film, well you know I dont shoot film anymore so feel free to take this with a grain of salt, but not editing film is largely just the same as shooting JPEG. film shots are quite malleable, and it's more that you're allowing a lab to make those decisions for you, which is fine. I learned how to print in a darkroom at uni in sort of the last days of that (Im a millenial), and I was a heavy photoshop user since even before that, so it's just sort of hard for me to view film as a hands off exercise any more than digital. oh, and the secret to 28 is to just shoot it more. if you dont force yourself to get to know it, you won't. I don't dislike 35 but 28 and 50 are really the focal lengths for me. although ironically my most used lens recently is the light lens lab 35mm 8 element. if you are shooting film and want a bit of a challenge, that or a v1 summicron (though you'll pay less for an 8E and it's probably better since you know it's new and all) are really nice companion lenses to modern 35s like the FLE or APO.
Oh, thank you. Maybe I have been mistaken (I am not experienced with film). I was just under the impression that DNG RAW files are the most malleable for editing, especially for shadow recovery. I routinely edit my digital photos, in terms of exposure, highlights, shadows, dehazing, and vibrance. I just somehow felt like the film results were ultimately up to the developer, and not really under my control, or amenable to manipulation, so I never really tried to edit them. Maybe I should.
For greater impact you should get closer to your subjects and get more focused (zeroed-in) framing. Further away shots are good for landscapes but not much else, except to establish context (to inform other, more detailed shots in a series). And, of course, that would mean getting comfortable with getting in close and personal. You should see a great improvement. Hope that helps.
Thank you so much for this! Very interesting perspective and results on the 35mm APO and Summilux FLE. Yes, the film stock does matter , and I really liked the shots. Especially 6:19, as you mentioned. Once again, thank you!
Thanks, someday I will try out my 50 APO on the MP.
Nice video!
so a couple of thoughts. firstly, every true apo lens I've used has had somewhat "muted" colors, right from the beginning with a Leica 100 APO macro lens. this can vary a bit within the Leica lineup; some lenses like the v5 50 cron and the 90AA (which is quite an old design at this point) are quite muted then you get into the 21SEM/24EM and those seem almost crunchy. I would say the 35 FLE is more in that latter group. in terms of not editing film, well you know I dont shoot film anymore so feel free to take this with a grain of salt, but not editing film is largely just the same as shooting JPEG. film shots are quite malleable, and it's more that you're allowing a lab to make those decisions for you, which is fine. I learned how to print in a darkroom at uni in sort of the last days of that (Im a millenial), and I was a heavy photoshop user since even before that, so it's just sort of hard for me to view film as a hands off exercise any more than digital. oh, and the secret to 28 is to just shoot it more. if you dont force yourself to get to know it, you won't. I don't dislike 35 but 28 and 50 are really the focal lengths for me. although ironically my most used lens recently is the light lens lab 35mm 8 element. if you are shooting film and want a bit of a challenge, that or a v1 summicron (though you'll pay less for an 8E and it's probably better since you know it's new and all) are really nice companion lenses to modern 35s like the FLE or APO.
Oh, thank you. Maybe I have been mistaken (I am not experienced with film). I was just under the impression that DNG RAW files are the most malleable for editing, especially for shadow recovery. I routinely edit my digital photos, in terms of exposure, highlights, shadows, dehazing, and vibrance.
I just somehow felt like the film results were ultimately up to the developer, and not really under my control, or amenable to manipulation, so I never really tried to edit them. Maybe I should.
I use the Plustek 8300i to scan my film from my 2022 M6
For greater impact you should get closer to your subjects and get more focused (zeroed-in) framing. Further away shots are good for landscapes but not much else, except to establish context (to inform other, more detailed shots in a series). And, of course, that would mean getting comfortable with getting in close and personal. You should see a great improvement. Hope that helps.
Apo lens with film makes no sense