The Leica M10 Monochrom is a $9,000 digital digicam devoted to black-and-white images, however how does it evaluate to a $10 roll of Kodak Tri-X 400 black-and-white movie? That’s what the oldsters at Digital 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 pondering: 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 right this moment is as a result of many movies and plenty of articles about movie versus digital how one’s higher than the opposite higher often discuss how the colour stands out and the way it’s onerous to duplicate that movie look.
“Effectively, right this moment 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 Seaside 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 just get from the sensor mimics movie grain, so we’ll see the way it stacks up in opposition to movie,” he says.
Listed below are a few 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 extensive 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 healthier neither is worse actually. It simply is dependent upon what software matches the job and so they have their very own respective processes.”
Picture credit: Images by Carlo Velasquez and courtesy Digital camera West TV