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Best Vintage Lens For Black And White Photography.

Dodge and Burn. Dodging and burning is a scheme that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows. Photoshop’s Dodge and Burn tools allow a level of control that film photographers can only ambition of because you can target the highlights, shadows or mid-tones with both. This means that you could use the Burn tool to darken highlights when they are too bright, or the Dodge tool to brighten them to grow local contrast. It’s a good mode of giving a sense of better sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you could build up her effect gradually so the impact is crafty and there are no hard edges.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all decreased to black and white or shades of grey in a monochrome image and you have to look for tonal contrast to make a shot stand out. In colour photography, for example, your eye would at once be drawn to a red object on a green background, but in monochrome photography these two areas are likely to have the same brightness, so the image looks flat and lackluster straight from the camera. fortunately , it’s possible to work adjust the brightness of these two colours discretely to introduce some contrast. However, a good starting point is to look for scenes with tonal contrast. There are always exceptions, but as a general rule look for scenes that contain some strong blacks and whites. This can be achieved by the light or by the brightness (or tone) of the objects in the scene as well as the exposure settings that you use. The brightness of the bark of a silver birch tree for example, should inject some contrast (and interest) in to a woodland scene. Setting the exposure for these brighter areas also makes the shadows darker, so the highlights stand out even more. Look for shapes, patterns and textures in a scene and move around to find the greatest composition.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are got as far as by editing raw files which have the full colour information, but if you shoot raw and JPEG files simultaneously and set the camera to its monochrome picture Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. As numerous photographers struggle to visualise a scene in black and white, these monochrome modes are an invaluable tool that will help with composition and scene assessment. many cameras are also capable of producing decent in-camera monochrome images these days and it’s worth experimenting with image parameters (usually contrast, sharpness, filter effects and toning) to find a look that you like. Because compact avenue cameras and compact cameras show the scene seen by the sensor with camera settings applied, users of these cameras are able to preview the monochrome image in the electronic viewfinder or on rear screen before taking the shot. DSLR users could also do this if they kick in their camera’s live opinion use , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

Take Control. Although coloured filters may still be used to manipulate contrast when shooting digital black and white images, it’s more common to save this work until the processing stage. Until a some years ago Photoshop’s Channel Mixer was the favorite means of turning colour images monochrome, but now Adobe Camera Raw has more forceful tools (in the HSL/Grayscale tab) that allow you to adjust the brightness of eight individual colours that make up the image. It’s possible to adjust one of these colours to make it anything from white to black with the sliding control. However, it’s important to keep an eye on the whole image when adjusting a particular colour as crafty gradations could become unnatural looking. And adjusting the brightness of a red or rosy shirt with the red sliding control, for instance , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls could also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create discrimination between objects of the same brightness but with varied colours.

Try Long Exposure. Long exposure shots may work really well in monochrome photography, especially where there’s moving water or clouds. During the exposure the highlights of the water, for example, are recorded across a wider area than they would with a short exposure and this can help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If required , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to decrease exposure and extend shutter speed (by 10 and 4 stops respectively). naturally , when exposures extend beyond with respect to 1/60 sec a tripod is required to keep the camera still and avoid blurring. It’s also advisable to use a remote release and mirror lock-up to minimise vibration and produce super-sharp images.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are simply as advantageous in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more advantageous . An ND grad is collaborative when you want to retain detail in a bright sky while a polarizing filter should be used to reduce reflections and boost contrast. Alternatively, look on taking two or more shots with different exposures to create a high dynamic range (HDR) composite. Don’t be anxious to use a ND grad with a standard neural density filter if the sky is brighter than the foreground in a long exposure shot. Coloured filters, which are an essential tool for monochrome film photographers, should also be advantageous for manipulating contrast in digital images. They work by darkening objects of their opposite colour while lightening objects of her own. An orange filter, for example, will darken the blue of the sky while a green one will lighten foliage.

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I have to say this really is the best £15 I have ever invested in my photography, the lens is sharp (as long as I manage to focus properly!!) and beautifully soft at the same time.

Pico: Good question, I will try to answer. This definition states generally what I was looking for: “an extent, amount, or intensity considerably above the normal or average”, but in this case as it relates to creating black and white images.

It is not necessarily IQ, sharpness or contrast, but the overall look. I am starting to do more black & white with my M9 and was curious if experienced B&W photographers considered any lens better than others.

I understand that finding a good subject in the right light and getting the proper exposure and composition are some of the keys to any good color or black & white image. However the lens, film (now the sensor) are also important.

If some lenses draw a black and white image differently, it might be helpful to know and I could then decide which, if any, might help me with my photography. If it turns out that all Leica lenses work about equally well for black & white, that is also good to know and I would have one less thing to consider.

My subject matter covers landscape, travel, urban/street and people, which in the end is likely more important in the lens choice than black & white or color. Thanks Bob

Are there any Leica lenses or Leica compatible lenses that stand out as the best overall lens or lenses for B&W photography?if so, is it the same lenses for digital as for film Leica’s?

Thank you for clarifying your meaning of ‘best’.Choosing a lens that gives you what you want requires that you actually use the lens for some time so that you know how it renders under various conditions.

It is not the same as choosing a lens for flat repro work where MTF and rez tests might suffice. But you know that.The only Leica lens that has never disappointed me is the rigid 50mm Summicron. I consider it the gold standard for B&W and color.

Another interesting lens that I’ve used for decades is the 35mm Summilux, Version 2. (I’ve had two). It is considerably soft wide-open and sometimes gives a pleasing glow under the proper lighting; stopped down it is adequately sharp.

This week I am using a 50mm Summitar (coated with round aperture), wide-open at distances of about a 1.75M. So far the images have been surprisingly sharp with pleasing transitions, however it’s on a digital camera with a crop factor so I really do not know how it is performing on film.

My darkroom is freezing cold right now. Bottom line – hope to be lucky enough to try a lot of lenses.

And if you are a photographer and haven’t already come across the Guild of Photographers or Aspire Photography Training I can highly recommend both organisations for the support, motivation and training that they offer.

Bill, very nice color work with the M4. What are your film preferences?

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0MP Digital Camera… 1.700,00 USD(16 bids) Ends Aug 12 Leica M M9 CCD 18MP Steel Grey… 2.499,99 USD(0 bids) Ends Aug 15 Leica SUMMILUX-M 50mm f/1.4 Aspherical… 1.799,00 USD(1 bids) Ends Today Leica Summilux-M 50mm f/1.

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The arrival of the lens coincided with a day at Aspire Photography Training organised by The Guild Of Photographers. Any visit to Aspire is guaranteed to inspire and motivate and I decided this would also be the perfect opportunity to try out my new lens. After all I wouldn’t want to experiment with it on a client shoot and find it wasn’t as good as I was hoping.

Generally people say multicoated lenses best performance in color and single coated lenses are best for black and white. Now Voigtlander produce two different versions of the 40mm f/1.4, MC and SC. This second version was made for better performance with black and white.

IMHO simply do not exist lenses for B&W and lenses for “Colour”;)

Are there any Leica lenses or Leica compatible lenses that stand out as the best overall lens or lenses for B&W photography? if so, is it the same lenses for digital as for film Leica’s?Thanks Bob Robert Coles Photography

Hi Jeff, Thank you. I don’t shoot colour film that often, I must confess. I use 400CN for monochrome and Portra 160 NC for colour. I “understand ” how both those films behave. I am not a “film tart” – once I am happy with an emulsion I stick with it, learn how it reacts under different conditions, and come to trust it to deliver for me.

Oh, and it’s an MP4, not an M4 – it’s an a la carte MP .85 with only 4 framelines :cool:Regards,Bill

There’s no such thing as best. Some prefer high contrast and sharpness whereas others would say that an uncoated vintage Summar is best.Not to mention the vast amount of variables in terms of material, exposure and post processing.

It’s basically down to what you prefer and what is best for you.

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Don’t know for you but a good B&W lens must not be too contrasty to me so i prefer pre-asph and pre-apo Leica lenses for this purpose personally. For instance late Summilux-M 35/1.4 pre-asph; Summicron-M 35/2 IV; late Summilux-M 50/1.

4 pre-asph; pre-1994 Elmar 50/2.8; Summilux-M 75/1.4; pre-apo Summicron-M 90/2 and the like. Now some current lenses are less contrasty than others like Elmarit-M 21/2.8 asph and Summicron-M 28/2 asph for instance.

Matter of tastes anyway.

The best lens for b+w white photography is the one that’s on your camera.The visualisation you bring as a photographer is more significant than any lens choice. Once you truly see in b+w then considerations about lenses aren’t important, except as tools for composition.

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I shoot B&W film pretty much all the time. I love my old Elmar 50mm 2.8. It’s not so much a better or worse thing but that old lens has, to my eyes a very pleasing signature. Just a bit lower contrast than some of my newer lenses.

That’s exactly what happened to me last week, I set out to catch up on reading a few emails, one link lead to another, I disappeared down the internet rabbit hole and emerged a couple of hours later having ordered a vintage Russian lens and an adaptor plate from eBay!!

I’d thought I may only use it for black and white work but the colours are beautiful, the image above hasn’t been edited other than a tiny crop and converting to a JPEG!

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Lots of folks like the older lenses for B&W work, claiming that the aspherical lenses are a bit clinical. With the caveat that great pictures can be taken with any lens, I’ve heard a seen good things about the Zeiss 50mm Sonnar and I’ve always liked the current 50mm Summicron.

And in retrospect, the 35mm Summicron (ver. 4) looked nice with B&W. Wish I still had it.I shoot a lot of B&W and rarely does the lens make or break the picture (if ever).

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Do you ever set out to do just one thing on the internet, get distracted and then end up spending way too long doing something totally irrelevant?

Old soviet lenses are great for B&W due to their lower contrast. They are sharp enough and very cheap. I’m very happy with the Jupiter-12 35mm f/2.8 on my Leica M8. Voigtlander 50mm f/1.5 Aspherical is also great for B&W, better than my 50mm Summilux ASPH.

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Overall look. I am rather fond of the image I get from my last version 50 2.8 and 90 4.0 current and probably last. They are my go to lenses along with 35 2.0 version IV.I could make a case for any Leica lens created since 1950 also.

My screw mount cameras have a 35 Summaron, 50 1.5 Summarit 50 3.5 Elmar 50 2.0 Summitar, 90 4. 135 4.5. I enjoy using them also.My advise is any of these will make you looklike a good photographer if you know what you are doing.

But on a test bench, the newer the better, but lower the mechanical construction quality. The 1950 60 70`s was the peak for mechanical perfection.

Bill, thank you for posting your link. Reading through the thread, I really didn’t have an answer, I’ve never considered the question.But your results with the C-Sonnar are very close to what I achieved with a 1950s model in Contax RF mount.

Lower saturation, contrast and plenty sharp.It also reminded me as I don’t have a 50 and sometimes want one, this is the lens I want in M mount.Cheers-jac

After much pondering and research on a similar subject I went off and bought a new Zeiss Sonnar. Is it a “best” lens for monochrome? I neither know nor care. What I do know is that the rendition it gives suits the way that I like to see the world.

Here is what I mean. As has already been said a number of times, this is a very personal choice.Hope this helps.Regards,Bill

– – – – – – – – – – – – -The world is going to pieces and people like Adams and Weston are photographing rocks! – Henri Cartier-Bresson (during the 1930’s)http://www.flickr.com/photos/voe/

For the photographers reading who are probably desperate to know, the lens is a Helios 44-2. Its a 58mm focal lens with a widest aperture of f2 and all the images are shot wide open. It’s a totally manual lens and I needed to buy a £2.99 mount adaptor to fit it on my Sony. And I’m sure lots of photographers would wonder why on earth anyone would stick an old £15 lens on quality digital camera but there’s nothing like using something unique to really push your creativity and allow you to work in your own unique style.

In general the qualities one wants of a lens for black and white photography are identical to those one wants for colour. In other words the best lens for one will be the best for the other. I’m sure there are a few exceptions, but only one comes to mind just now.

This is that when working in b&w one has to rely more on selective focus to separate the subject from the background than when working in colour. So at least in principle there are situations where in b&w it is really important that the lens render an out-of-focus background in a pleasing (to you) way, while in colour you could just stop down and let the colour do the talking.

To that extent, “good bokeh” is a little bit more important in b&w than in colour – but not, I think, enough to justify saying that X lens is better for b&w while Y lens is better for colour. There’s more room for discussion about the best lenses for digital vs the best for film, where there are two separate issues (or bundles of issues).

(a) Some lenses behave differently with film and digital sensors, especially wide angle lenses with short back focus. This has been discussed many many times in this forum so let’s not start it again.

( Digital sensors have a smaller dynamic range than colour or monochrome negative film and behave quite differently at the extremes of the range. This means that, for subjects with a long dynamic range, a lower-contrast lens (generally an older design) can sometimes be preferable to a high-contrast one.

Reversal film (colour or monochrome) has a dynamic range closer to digital sensors than negative film, so ( applies there too.

I’ve been very pleased with the tones I can extract from Neopan 400 and TMY-2 using the 50 Cron (latest version) and 28 Cron Asph. Neither of these lenses are particularly contrasty, thus preserving the extremities of the curve.

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