![]() ![]() The color noise is completely absent, how could it be present if the camera no longer sees any color. Depending on the situation, you have to intervene more or less with the exposure compensation. This means that it now tends to underexpose. However, when calculating the exposure, the camera still uses the values with which it set the exposure as a color camera. You get, so to speak, a pixel shift shot with only one instead of 4 exposures, which are offset against each other. In numbers, the difference is about the same as when you compare a Pentax K1 with and without PixelShift. Welcome creativity!įrom a technical point of view, the elimination of the microlenses increases the resolving power of the sensor. The decision of which “film” and which lens are irreversibly made. It is precisely this reduction that makes it so valuable to me. A fixed 18mm lens with an APS-C format sensor. My GR is now what is certainly close to the minimum that a camera has nowadays in terms of equipment. ![]() The result is absolutely convincing, and before we get to the technical aspects, we come to the emotional ones - the “feeling”. The operation was successful and I think that my GR may now be the only or one of very, very few true monochrome GR cameras. The camera was sent by courier to Lithuania and after 2 weeks I had it back. He was unsure at first, but he then ventured into the project. I asked my friend if he could convert my GR II. I quickly became aware of this and the monochrome GR idea was immediately present again. The microlenses on the camera sensors are removed and the camera is no longer able to see colors. Time went by and a friend of mine started debayering cameras in a process he had developed himself (read “ Debayering Demystified” by Craig Stark). In any case, I put the idea of a monochrome GR to one side for the time being. The problem at the time was that monochrome chips were not available in large-scale production - whether they exist today I don’t know. The idea was not new, of course, and I was certainly not the only one who had the idea of a monochrome GR. I have loose contacts at Ricoh/Pentax and brought the idea to the table in more than one conversation with staff. ![]() A few years ago I thought how cool a monochrome GR would be and that it would sell like hotcakes. Many street photographers love it because it’s practically invisible. It’s always in the car, fits in any pocket and you can take good pictures quickly. Timetravel – Lea studio portrait – Ricoh GR IIm – ISO 100 ƒ9 1/125sec with GODOX Studio Strobe and X-Pro P Trigger Lea long exposure portraits – Ricoh GR IIm – ISO 100 ƒ10 2sec with GODOX Studio Strobe and X-Pro P Trigger HP5 or TRI-X forever! The high price of the Leicas also makes the decision even more irrevocable. With the monochrome Leicas, the decision of whether to use color or black and white has already been made. And if these decisions are irrevocable, a creative process is started rather than prevented. Once you’ve made those decisions, it’s much easier to come up with images because you’re not constantly tweaking all the parameters. I think it is necessary to photograph with a visual idea and not just drift blindly. Leaving the commercial aspect of photography, I speak as one who loves photography as an art form and question how good all the achievements are for the feeling in photography. Lea studio portrait – Ricoh GR IIm – ISO 100 ƒ10 1/100sec with GODOX Studio Strobe and X-Pro P Trigger Photography as an Art Form Please don’t get me wrong – there’s nothing wrong with it and it has often saved our photographers’ asses that it is possible to adjust everything again at any time. The original image is only the first step in a long processing chain. ![]() All options, always and with all possibilities. That’s good for the customer, good for the photographer. ![]()
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