Leica d lux 4
The bdynamic b mode which is excellent
Leica d lux typ 109 digital camera
Leica d lux 4 by tetsu sawamura
The silver grey of the leica d lux 4 titanium metal body has been constructed with the same precision and attention to detail as the standard black model
The leica m is the first in a long line of leica rangefinder cameras to feature a completely new development in sensor technology featuring a 24mp full

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Leica D-Lux 4 Black And White Pictures.

Try Long Exposure. Long exposure shots can 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 place 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 compulsory , 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). classically , when exposures extend beyond relating to 1/60 sec a tripod is wanted 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.

Take Control. Although coloured filters could still be used to manipulate contrast when shooting digital black and white images, it’s more prominent to save this work until the processing stage. Until a few years ago Photoshop’s Channel Mixer was the favored 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 subtle gradations can become unnatural looking. And adjusting the brightness of a red or pinkish shirt with the red sliding control, for moment , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls should also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create delineation between objects of the same brightness but with diverse colours.

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 helpful when you want to retain detail in a bright sky while a polarizing filter should be used to decrease reflections and boost contrast. Alternatively, think of taking two or more shots with unique exposures to create a high dynamic range (HDR) composite. Don’t be afraid 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, can also be useful for manipulating contrast in digital images. They work by darkening objects of their opposite colour while lightening objects of their own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.

Dodge and Burn. Dodging and burning is a procedure 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 may only thought of taking a degree of because you should target the highlights, shadows or mid-tones with both. This means that you may use the Burn tool to darken highlights when they are too bright, or the Dodge tool to perk up them to increase local contrast. It’s a good strategy of sharing a sense of superior sharpness and enhancing texture. Plus, because you may set the opacity of the tools, you may build up their effect gradually so the impact is crafty and there are no hard edges.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are fetched up at 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 most 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. most 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 system 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 should also do this if they activate her camera’s live conception routine , but the usually slower responses mean that numerous will find it preferable or check the image on the screen post-capture.

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 immediately 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 monotonous straight from the camera. happily , it’s possible to work adjust the brightness of these two colours singly to introduce some contrast. However, a great 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 could 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, could 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 unsurpassed composition.

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You have a lot more control in Post using LR or PS and Nik Silver Effects Pro is free………FWIW

Hey guys, I’m considering getting the lensmate adapter for my lux. It seems …

if you shoot only jpegs, try the smooth BW option, then you can take the contrast in either direction. If you shoot the dynamic mode, you won’t be able to retrieve shadow detail if you should so choose.

Otherwise, use dynamic (very artsy) with a raw and you can produce anything from a color image to a BW image with a plethora of BW output options.

I think there is always a time when a group needs to regroup and join others own…

Make sure you are in picture taking mode and not playback mode. Push the menu/set round button, the first option will be film mode. Navigate through the different film modes using the right arrow key until you see the different black and white options. That should do it 107 months ago (permalink)

Locate the little thumb joystick on the back of the camera and press it. That’ll give you access to select the dynamic black and white mode.

Has anyone had hands on experience with both cameras? I am debating which one to…

Yes, I reset the camera and put in the correct settings for Monochrome.  Thanks for your help!  Mitch Wainer

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Set the camera to RAW mode and buy a copy of Aperture for the Mac. Then spend a bit of time with Apple’s excellent on-line tutorials which show you how to use the program. I find it close to perfect and it’s not got that ‘art program’ feeling that you get with Photoshop, nor is the learning curve so vertical.

Using your camera and software in this way will allow you to get the best from it. There can be many times when black and white is not the best option, and if you’ve got your camera set to it you’ve not got the option of ‘going back’ – ultimately once you’ve shot RAW and experienced what you can do with the files very, very quickly (like seconds) you’ll never shoot jpeg again.

…Best of luck.

Just thought I’d share: www.imaging-resource.com/news/2013/06/19/leica-d-lux-6-e…

I’m having a nightmare deciding between a d-lux 4 and a Canon s90. I blame the …

did you press the °i° button before? If that’s the way it is, press it again to see the whole menue. Move to °picture-style° and press the °four-direction-selector° in the *east* to get to °monochrome°.

Unfortunately, Aperture does not support the RAW files (rwl files) of the Leica D-Lux 4:Apple – Support – Discussions – RAW extension for Leica D-Lux4 …

Just purchase D-Lux 4 – not clear to me how to shoot in black and white. 7:02AM, 18 October 2009 PDT (permalink)

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I also found out the Black & White option is not available on some of the automatic settings. I have to select one of the manual settings to get it. I haven’t found a way yet to save it to one of my custom settings, but I’ll read about that tonight.

Alligator,If you have the DL4 set to RAW + Jpeg and use one of the excellent black and white film modes then you will shoot black and white but will always also have access to the colour image through the RAW file for those rare times when an image would have been better in colour than black and white.

Simple. Pete.

Hi, new to the group–just wondering if the Olympus evf2 or evf3 will fit a Leic…

What’s the total number of shutter actuations one can expect from a Leica D-L…

I purchased my first Leica, D-LUX 4 last week and so far I am loving every minut…

Welcome to the forum, Alli’!The DL4 offers a number styles of in-camera black and white conversions: Standard, Dynamic, Smooth and a number of user-generated ones. They can be found in Film Mode by either pressing the Menu button and choosing the top menu entry in the Rec menu or, as I find more convenient, pressing and holding the joystick until the quick menu appears and scrolling through the left-hand menu item.


Eur. Ing. Pete [email protected] Live and let live. My tea is brewed in Russell’s Teapot.

i have moved onto the x1 if anyone is interested in bidding cgi.ebay.com/…

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If you are in ” snapshot” mode, it will gray out a lot of the menu choices.

To the person who suggested I read the manual – I did. And I didn’t find it or I wouldn’t be asking here.I like the RAW+JPEG option so I always have color as a backup. I’ll have to try that. Thanks guys!

Hello Does this group still have any activity? The d-lux 3 & 4 are my cameras…

Hi, is it possible to use the D-lux for a long exposure to capture the milky way…

” Shooting with a Leica is like a long tender kiss… like firing an automatic pistol… like an hour on the analyst’s couch.” Henri Cartier-Bresson

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I’ve been trying to set my 109 to shoot B+W but the menu skips over the  “picture quality” option in menu (it’s greyed out on the screen). What do I have to change/do in the menu set-up?  Thanks! Mitch Wainer

This is my first Leica camera (a D-Lux 4). I’m getting to know all of the features, but there is one that I can’t seem to figure out. Is it possible to take pictures in black and white with a setting in the camera, or is this only done in post processing (using Photoshop or an equivalent)?Here’s a link to a sample of what I want to do: Leica D-Lux 4 Photography by Jim Radcliffe If I need to do this in software, what software do you recommend for a Mac user? I already have iLife ’09 but I can learn anything necessary.

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