Analysis of Da Vinci Paintings and Leica
We analysis the lens systems with MTF , Color MTF , different seidel or zernike abberations.
Some Leica lenses are interesting , for example Summicron 50. When you look to the MTF Chart , you find there are 2 images in one image. One is contrasty and other is less sharp. This goes in to classify the lines of the image , if there is a center of the image ,some lines represents tangential , others are parallel to the virtual rays spreading from the image center.
At Leica , whenever the one class sharpens , other class blurs and the opposite .
And the blur is calculated so well , it gives a healthy , lively , smooth , a holographic pop up detailed skin.
Well , I defend , this is similar to classic paintings.
They are built from many layers , deep layer blurred , top layer sharp and everything transparent.
Well , can we define , analysis these paintings with analogy of indicated tests. May be yes , but may be there are other analysis , synthesis techniques.
So what do you know ?
I think you're over-analyzing and you're trying too hard to justify your Leica ownership.
In my many years of shooting and printing, I still can't detect what lens was which when I look at prints, even the 16x20 prints, unless I clearly remember at the time of shooting. But still, long ago I decided that my talent (whatever it is) and my love for photography were worth the insane money I'd put into the system just for the sake of it. Just like a car Lover wants to drive a Ferrari just for the sake of it.
I own a 60 dollar Leica and its a price range that anyone can have it.
But you cant buy my art history and archaeology education , 100000 prints ,years of prepress and press experience and my 30 years of photography experience.
You can buy my Leica but not my attention with low attitude.
When you sell it, let me know
Originally Posted by Mustafa Umut Sarac
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Last edited by SuzanneR; 01-11-2012 at 05:32 AM. Click to view previous post history.
Reason: Deleted the insult
Attached , Leonardo Da Vinci , Virgin on the Rocks painting restoration analysis.
You will find 4 pictures attached prerestoration and postrestoration.
I will post two Leicina Cine Camera shots and you will find the same subtle tones which looks as restorated at bright daylight and not restorated at little bit darker light.
In this basic video , I invite your attention the boy and girls faces and their smooth 3D degrades with some glow at light hit places. Leicina Special Optivaron 6-66 Super 8 Ektachrome 64T
This is Leicina Special with 10 mm Macro Cinegon Super 8 Ektachrome 64 T
This ia longer movie , attention might be given to girls face , playing with corn.
A more darker taste and grain
IMHO Restoration destroyed these two paintings , its like playing with photoshop. I think at next century , it can be coated again.
Don't underestimate the texture of the painted surface - as well as the heavy texture of the paint itself - when it comes to layered paint analysis. This gives a very literal and significant third dimension to the painting...one that is practically absent in the silver print.
Also, a better correlation to the painting technique would be a multiple-exposure shot, where there are very real "layers" of the image that are built into the finished work. Subtle illuminations and bases can easily be done in this manner both on canvas and film. Stating that the lens is doing this is not quite accurate; there may be intentional aberrations that lend certain qualities to the image, but this is a far cry from the classical painting techniques that you reference. It is also a process, which - if it is, indeed, taking place as you say - you have no control over. You get what the lens gives you. On canvas - and this can be done with film, as well - you create the layers you wish to have to give the image the qualities you wish to portray.
I think you're over-simplifying.