4/3/2023 0 Comments Kodachrome analog efex proTo quote only an example, only four years ago, during late October and early November 2008, one of the first tests carried out in the world with the Elmar-M 24 mm f/3.4 lens was made by Tom Abrahamsson with such objective attached to a Voigtländer Bessa R4M analog camera loaded with Fuji Acros 35 mm black and white film subsequently developed with Beutler, verifying that this wideangle lens created for the Leica M8 was also highly appropriate for use with very fine grain chemical monochrom emulsion and achieved an amazing image quality with b & w film comparable to the one attained by the Apo-Summicron-M 50 mm f/1.4 ASPH with identical emulsion, reaching the conclusion that there isn´t either a black and white film or a digital sensor (always understanding that the lowest sensitivity monochrome emulsions in combination with the suitable developers are the ones getting more of the huge qualitative power of the Leica M ASPH lenses) able to 100% resolve all the quality that these lenses can deliver, which gives Leica a more than remarkable confidence regarding the future launching into market of brand-new products of its 24 x 36 mm format Digital Rangafinder M System of cameras and lenses. Bahman Bawendi, Kobayashi Hirofumi, Will Wright and others. Lager, Erwin Puts, Marco Cavina, Geoffrey Crawley, Tom Abrahamsson, Brian Bower, Günter Osterloh, Paul-Henry Van Hasbroeck, Ivor Matanle, Gianni Rogliatti, Ed Schwartzreich, Lars Netopil, Dick Gilcreast, Dr. This highly reliable method has been used during great part of XX Century and the current XXI by so prominent and historical lens designers like Max Berek, Walter Mandler, Helmut Marx, Lothar Kölsch, Horst Schröder, Peter Karbe, Sigrun Kammans, Michael Heiden and others until nowadays, and also by world class pundits on the knowledge of Leica lenses features and their history like James L. Needless to say that the best available developers were chosen to get optimum results. Id est, 35 mm black and white chemical films featuring very low sensitivity (ASA 20, ASA 25 and ASA 32) which were, are and will be with difference the ones drawing the maximum qualitative potential of lenses, thanks to their exceedingly fine grain, great resolving power, excellent contrast and a wide tonal range, without forgetting the very important acutance. Otto Geier, supervisor of the Optics Department of Leitz Canada (on the right) examines under the attentive look of the legendary lens designer Walter Mandler (on the left) a roll of 35 mm Kodak Panatomic-X 25 ASA black and white film - featuring a very long curve and remarkable preservation of detail in both high key and low key areas- exposed with a Leica M3 and a collapsible Summicron-M 50 mm f/2 in the Leitz factory at Midland, Ontario (Canada), in mid fifties. Īlready in the analogue period, the quality tests with Leica M objectives were made using the best feasible analogue captors, of Rochester, New York) exclusively developed for black and white photography and lacking a low pass filter, color RGB filters on the photodiodes and Bayer filter whatsoever, starts a new stage in which it will be achieved a greater benefit of the second to none optical quality of the Leica M highly luminous aspherical lenses, which have always required excellent captors, both analogue ones - chemical emulsions- and digital ones - electronic sensors. What happens is that already immersed into digital era, the new Leica Monochrom and its 18 megapixel CCD sensor (made by Truesense Imaging, Inc. It´s curious and even fascinating the step given by Leica with this just arrived camera, which is historically and conceptually linked to the analogue black and white photography, which has been in a high percentage the vital diachronic epicenter of the brand since the launching into market of the analogue 35 mm format Leica 1 (Model A) in 1925 until this glittery 2012 digital Leica Monochrom, likewise in 24 x 36 mm format.
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