↑Leica M3, Voigtländer Nokton 40mm, and Kodak Tri-X 400.
This photo was chosen as a Leica Fotografie International (LFI) Master Shot:
Please don’t write to me and tell me this comparison is not scientifically valid — I’ve named this post Unscientific for a reason.
I will, however, acknowledge that the M240 was at a significant ISO disadvantage vs. the M9.
However, low light shooting is the main reason I bought the M240.
Perhaps those with better post-processing skills could have done better with the M240 file.
Despite my best efforts, I couldn’t.
Introducing the Voigtländer Color Skopar F2.5/35mm P II.
I’ve been experimenting with this lens for the last 24 hrs and, so far, I like it. Small, sharp, smooth. Its strength is in daylight shooting, not just because it is limited to a maximum aperture of f/2.5, but because of the way it holds highlights.
Images will follow — maybe in a few days — so you can judge for yourself.
Voigtländer always delivers great lenses, so I shouldn’t be surprised at the results.
In the meantime, feel free to re-visit my report on one of my favourite lenses, the Voigtländer Nokton 40mm f/1.4.
I’m asked this almost weekly (even though I name the gear used to take each image I post, below each image I post).
For the record, these are the cameras/lenses I’m currently using.
For anyone in doubt about film having a different look from digital, look carefully at this image.
Noteworthy observations: the colours, the tonality. There are other differences that I’ve never been able to put my finger on — call it the “je ne sais quoi” factor.
As an aside, I’ve always found that the Voigtländer Nokton 40mm, the lens used to capture this image, performs exceptionally well on film.
—Peter | Prosophos.
↑Leica MP, Voigtländer Nokton 40mm @ f/1.4, and Fuji Superia X-tra 200.
One of the more frequent email questions I receive is:
Most of the time, it’s easy to tell if you follow my daily posts, because I list the specific lens (and camera) used beneath each image.
However, I’ve been known to frequently re-jig my set-up — as I’ve done recently.
So, currently, I’m using:
If you want to view images taken with any of the equipment I’ve ever used, you can search for specific lenses in the Category Cloud. It looks like this:
You can find it on the bottom of the page…
Just click on a specific category (link) and all the images associated with it will be displayed.
Hope that helps,
Yesterday, I posted this image, taken with my Leica M9…
(please click on the image to view)
…and asked you to guess which lens was used. Many of you were generous with your time and responded.
I appreciate the effort (and guts!) of all of you who took the time to record your best guess.
Moreover, reading the analysis behind each choice was very interesting and educational (I urge those of you who haven’t read through the comments of the original post to please do so).
So now, without further delay — the answer.
And the answer is…
Yes, the little Voigtländer Nokton 40mm.
(If you want to read an old write-up of mine on this lens, please see here.)
Thanks for playing :),
“He wanted to recover something, some idea of himself perhaps, that had gone… His life had been confused and disordered since then, but if he could once return to a certain starting place and go over it all slowly, he could find out what that thing was.”
— F. Scott Fitzgerald, The Great Gatsby.
(please click on the image to view)
↑Leica M3, Kodak Tri-X 400, and Voigtländer Nokton 40mm @ f/1.4.
A few years ago, I realized I had never captured her on film.
It was important to me for some reason.
So I started shooting film again.
(please click on the images to view)
↑Leica M3, Fuji X-tra 400, and Voigtländer Nokton 40mm @ f/1.4.
↑Leica MP, Ilford HP5 Plus 400, and Voigtländer Nokton 40mm @ f/1.4.
↑ Leica M2, Ilford HP5 Plus 400, and Voigtländer Nokton 40mm @ f/1.4.
↑Leica M2, Kodak Tri-X 400, and Leica 50mm Summilux ASPH @ f/1.4.
I look at these images now, and follow the path of light:
originating from the late afternoon sun,
filtering through the window,
touching her face before reflecting off,
traversing the distance between us,
bending in the glass elements of a lens,
and finally etching her image onto an organic emulsion.
The film, like the viewer, is forever altered.
And it all happens in a fraction of a second — just like growing up.