Already many years ago, I was concerned with the idea of presenting Schleswig-Holstein and Scandinavia beyond posed images or related photos, automated or emotion-free texts.
My heart still belongs to analogue photography. On the one hand, it just makes me more happy to hold a film or a negative in my hands, on the other hand, I personally take pictures much more calmly and deliberately than with our digital camera.
In the old book “My Experiences with the Leica” by Dr. med. Paul Wolf I studied the different focal lengths that the photographer used with the beginning of the first Leica lenses. So far away from the sharpness and the contrast of today’s films, lenses or chips, they were so close to the heart of the people, as it is today rarely a picture.
Objectively it is 28 millimeters, subjectively the ideal to capture a moment spontaneously
At first I photographed with the Leica M Summicron 2.0 / 35mm, but it was too heavy for me, especially in the chrome version and it was too close to the focal length on the 50mm lens. The 28er should therefore be the ideal focal length for me. The question of the right for my needs 28mm lens was answered quite quickly. On the one hand, the higher light intensity is considerably more expensive, but on the other hand it is much heavier. Since I photograph fewer people and actually take a mini tripod with me, the light intensity of 2.8 is completely sufficient.
The sun visor is sturdy and inspires me, even backlit shots sometimes contrast-reducing without them to try. A disappointment, however, is the protective cap of the sun visor. You have to be very careful not to lose them. Another protective cap is included with the lens without sun visor. Leica would come here if they offer the lost sun visors of this lens for half price. When using the sun visor, however, you should check that it is also screwed on correctly, slight twists inevitably bring shading into the corresponding corners.
The Leica Elmarit 2.8 / 28mm asph. is pleasantly light in the hand, it has a large focus area, which is due to the focal length. The relatively light weight and interior shots from the hand are very good to get there. In addition, it is wonderfully compact and handy.
If the lens is held straight, I do not need to worry about curved lines that are really straight. They are given clean again.
But the most important question is, what comes out of such a lens. And I was not disappointed. In the age of sharp lenses this looks pleasantly soft with a soothing sharpness. I do not know how to describe it differently, I do not carry out a scientific test. I use it in reality and only then do the results have to convince. In combination with the analog film, this combination looks very harmonious and gives the pictures a natural look.
The Analogue Film Kodak Portra 160
One of my favorite analogue films is the Kodak Portra 160. Previously, I liked working with polarizers, so in this movie I love the bright and natural blue of the sky, it has a slight penchant for the green. The film has a neutral to slightly warm color rendering, without being intrusive. Especially with mixed light, the Kodak Portra 160 offers an excellent harmony, even neon light does not get the dreaded greenish tint. If the Kodak Portra 160 is actually a portrait film, then I like it exactly for the landscape shots. Since I like to photograph in high-contrast light, he inspires me also in the drawing of the shadows, where he shadows also be wirlich shadow. In the morning mist with the usual reduction of contrasts, it brings a pleasantly warm color reproduction.[nggallery id=17]