The Leica M10 Monochrom is a $9,000 digital digicam devoted to black-and-white images, however how does it examine to a $10 roll of Kodak Tri-X 400 black-and-white movie? That’s what the parents at Camera West TV determined to seek out out.
Within the 10.5-minute video above, photographer Carlo Velasquez (@leftf0otforward on Instagram) does a shootout between the Leica M10 Monochrom and Kodak Tri-X 400 loaded in a $5,300 Leica M-A — the Leica 50mm f2 Summicron lens was used on each our bodies to maintain the comparability targeted on the sensor and movie.
“I do know what you’re considering: wouldn’t the high-resolution sensor of the Monochrom beat out 35mm movie, or wouldn’t you simply convert your coloration images into black and white?” Velasquez says. “The rationale why we’re doing this comparability at present is as a result of many movies and lots of articles about movie versus digital how one’s higher than the opposite higher normally discuss how the colour stands out and the way it’s exhausting to copy that movie look.
“Properly, at present that is the primary time we’ve seen a black-and-white movie go up in opposition to a black-and-white-only sensor.”
Velasquez shot images at Ocean Seashore in San Francisco with the Tri-X 400 (his favourite movie for its versatility and iconic look) at field velocity, ISO 800, and ISO 1600.
“They are saying that at increased ISOs, the noise that you simply get from the sensor mimics movie grain, so we’ll see the way it stacks up in opposition to movie,” he says.
Listed here are a number of the images Velasquez ended up with:
The Leica M10 Monochrom is a digital rangefinder that leaves out the Bayer coloration filter array that digital cameras ordinarily use to seize coloration info. With out the necessity to interpolate coloration info from pixels, the Monochrom ought to theoretically supply higher picture high quality than normal coloration images transformed to black and white.
Velasquez notes that Kodak Tri-X is beloved by movie photographers for its huge publicity latitude (you may get good outcomes even when pushing and pulling), its medium distinction, and its pleasing grain.
“I hope this [experiment] gave you extra perception between black-and-white movie and a black-and-white digital digicam,” Velasquez says. “Neither is best neither is worse actually. It simply relies on what instrument suits the job and so they have their very own respective processes.”
Picture credit: Images by Carlo Velasquez and courtesy Digital camera West TV