Never saw a woman so alone

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It’s only a lyric from the Doors’ classic LA Woman. Not saying the images don’t reflect my impressions based on the postures and expressions of the subjects of these photographs. But they’re only my creative  projections. Don’t sue me, ladies!

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2 comments

  1. Donald,

    I like the color better from the Summicron than from the Zeiss, and the bokeh of the Leica is worlds better than than the Zeiss–IMHO.

    Content is beautiful and thought-provoking, as usual.

    David

  2. Thank you, David. And I agree on all counts. While the color from the Zeiss is truly nothing to sneeze at, and I really mean that, the 50 Cron may be the most intensely colorful lens I’ve ever shot. A little bit more than the 50 Lux and a more classic, Zeiss-like warmth as opposed to the 50 Lux’s primary colors which have always looked just a little comic book-like. Reds and blues pop from the Lux. Burnished oranges from the Cron and Zeiss. As far as color, I would say that MY 50 Cron is like the Zeiss on steroids… sans all the negatives about performance enhancing drugs. 😉

    But bokeh? Yeah, a lot of people tout this Sonnar for the bokeh and on film it was classic and lovely. But honestly, it’s not my cup of tea on my M-E. At best it is bland and not a distinctive or attractive feature at all. Leica OOF areas are the stuff that dreams are made of. Summicrons included. I’ve read everything that’s been written about the Crons and ASPH Leica lenses not having great bokeh, etc. I think it’s mostly a bunch of baloney. At least as far as my aesthetic is concerned. I’m picky about strange things. I grew up as most of us over a certain age did looking at Life Magazine and anthropology and social studies textbooks, World Book encyclopedias, you know, old school, and I see what I want to see in the OOF areas from my Leica glass that I just don’t ever see from Zeiss or Nikon or any other glass.

    Anyway… thanks for visiting!

    db

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