tkozloff
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At some point early in the development of the "Leica Bible" I extracted material I thought I might want to refer to later. Set forth below are those extracts, with no attempt at attribution. This is in no way complete; it's just an ad hoc, unedited collection of posts some may find useful.
Focusing screen:
when you drop that screen in its frame look at the height between the frame that holds it and the top of the screen. If it is not equal from left to right it is not seated properly. Also, when you push it back up be very careful not to touch the screen. make sure the orange cli if just touching the little tab. otherwise you will have a screen sitting uneven.
Flash:
I noticed the Metz 54MZ-4 retains HSS sync even in A mode. That's neat since one of my favorite uses for it is HSS fill flash in midday light!
Motor Drive:
I also have the motor drive, and it sounds identical to the DMR, so I suspect the power unit at the bottom has pretty much the same innards. That makes sense, I'm sure they had bigger problems to spend their engineering resources on. But the MD is pretty loud, and so is the DMR. Not horribly so, but there are times and places I wouldn't want to have it whirring. But alas, Leica retained the ability to manual cock the shutter -- a superior feature! Wish all DSLRs would have this; when manually wound it's no noisier than a bare R9 with film. And that's reasonably quiet! (Not a Leica M, but still pretty good.) Simply flip out the winding lever a little and the DMR will no longer run the motor. Many a PJ is going to absolutely love this feature. My only slight peeve is that it would have been nicer if it has a separate switch someplace on the power/drive unit on the bottom. (Edit: they could have added a third position to the C/S switch, like C/S/M for continuous, single, manual.)
Histogram
Here's an interesting feature Guy... Press Play to view an image, then Info to bring up the histo and other info. Turn the rear wheel to zoom in, or the four directional buttons on the wheel to scroll around; notice how the histogram updates to reflect the view shown!
R9 start-up
The dial on the R9 to turn on the camera , you can just leave it on than push the DMR power buttun off, everything goes off . Than to turn back on just hit the shutter and it power backs on. No need to play with the dial. So this will be a much faster on startup
Focus
The nice thing about the play feature and zooming on a image you can really seee if the image is in focus
Seriously, when I first put my DMR together, I had a back focus issue also. You need to redo the focusing screen installation. Test. Redo again if needed. Test again. Rinse and repeat until you solve the problem. This installation is critical to get it exactly right, and not particularly easy to do given the restricted working space.
Remember, with these Leica lenses and their wide apature, your depth of field on some of them is measured in millimeters. What you think you focused on exactly, in reality you didn't. You can't trust your eyes for this critical setting either. What I do is take a yardstick (or tape measure) and fasten it to the wall. I setup my camera on a tripod, open the lens up completely. Run the yardstick or tape from the wall to the left side of your camera. Then pick a spot about half way to the wall, and focus on a particular number on the yardstick. Make an exposure. Check the exposure and see what number is in focus. If a number closer to the wall than the one you chose to focus on is actually the sharpest, your camera is back focusing. If a number is closer to the camera in focus, then you are front focusing. Do make sure to have the diopter adjustment on your viewfinder set to it's default neutral position when you do this.
Final step for me just to check everything out is to tape a sheet of newspaper to the same wall, making sure my camera is level and parallel to the wall, and I shoot an exposure of it. The print on the newspaper should be in good focus even with your lens wide open.
BTW i tried the screen that was in [the new R9 back] first without touching it than replaced it and got same results so looks like the screen is in. New owners i would try it like this first. That way you have a shot from the factory out of the box than shoot with supplied DMR screen and compare and if it is off than you have proof of that. I tried infinity also and very good too. Big lesson for new owners here, i shot a lot with improper focus before this and I think a lot of my test shots were back focused. Now i need to go shoot for real.
Extra equipment:
Guy, I'm making a list of all the "must have" extras. So far: extra battery, lots of flash cards (have you used any 2gig SD versions), eye cup, lcd protector. Keep listing them out as you see the need.
I am using the sandisk 2gb ultra have 3 of them and 1 gb lexar 60. Oh a little gepe case holds 3 cards for SD only , small and fits in pocket.
I use RRS plates for my camera's , my old 1dMKII did not work on the DMR so i bought a generic plate for the DMR.
Hey the car charger works i did it yesterday between shoots to charge the one battery I had yesterday. It's on the same level as the 1ds as far as power is what i am seeing so far have yet to drain it
This is the Card Safe Mini, right? I've been using a couple of regular Card Safes for my CF cards, and they're the cat's meow. (It holds four.) If the mini is anything like the regular, definitely get one of those! (I'm getting a mini, thanks Guy!)
This case the gepe mini
;http://www.bhphotovideo.com/bnh/controller/home?ci=1&sb=ps&pn=1&sq=desc&InitialSearch=yes&O=SearchBar&A=search&Q <http://www.bhphotovideo.com/bnh/controller/home?ci=1&sb=ps&pn=1&sq=desc&InitialSearch=yes&O=SearchBar&A=search&Q> =*&bhs=t&shs=Gepe++GECSMIBℑ.x=10ℑ.y=8
What SD cards are you using with your DMR? I am trying different kinds. Sandisk Ultras do seem slower than Extreme SD cards. I wonder how fast the DMR can write out? I haven't found a 150x card that works yet (I only tried the Ridata 150x card and the DMR firmware 1.1 would not recognize it)
I am using the Sandisks II ultra and they seem slow ,
I'm using the 1 Gig Lexar Professional 60X in mine and they are working just fine. Seem to be plenty speedy too, as I haven't hit the buffer except on a speed test.
Lenses:
Kurt the 19 mm has become my new friend as a 24mm . The 15 and 19mm have become very important lenses now . The 15 is now the 19 the 19 the 24. Yea really glad I bought the 15mm 2.8 now. I was questioning myself there but looks like a great choice now. I just need the 60 macro and maybe a 135 and a 2x apo romm would give my 180 f2 a 470 f4 lens
Don't forget the 28-90 if you want an excellent all-arounder. I also wonder how well 1.4 lenses perform with the DMR. I'm hanging onto the 35 1.4 for now just to check it out.
Chuck your just going to have to post a picture from that 35-70 2.8 . For those that do not know about this lens. it is so rare I can't tell you but I think 200 hundred were made and the image quality is from another planet, maybe Chuck can tell us gear heads a little more but that is making me jealous.
This lens was built in a very limited production of initially 100 units. It was intended by Leica to be exactly what it is, a demonstration of Leica's ability to build the best zoom lens ever made. As expensive as it was new, my understanding from my Leica Rep was the factory actually lost money on every lens they shipped, due to the tight tolerences in the manufacturing process, and the hand built nature of it. The lens elements are actually hand polished, or so I was told. Another 100 lenses were assembled from the spare parts available, then the lens was discontinued. So there were exactly 200 copies made for sale worldwide. So as David K said to me a couple of days ago, he and I together own 1% of the total lenses made ;=)
I have no idea yet what it will look like with the DMR. Not sure anybody has had both this lens, and a DMR body to find out yet. As we all know, not everything works the same on digital as it does with film. On film, it is nothing short of fantastic. Without question the highest quality zoom lens I have ever seen. In my opinion, even better than the Leica fixed focal lengths it covers.
Chuck I would go for the 19mm now since you can get one used on the B&S board from 2000 to 2300 . A used 15mm is around 5000 to 5800. The 19 will be a 24mm but as you settle in on the DMR you may want to get the 15mm after evaluating some of the current lenses and see were you want to go, you have a lot of power in what you already own to get more for the DMR setup. I also am thinking of selling my35mm 2.8 elmarit and 50mm F2 summricon and getting one really fast one the 35mm 1.4 summilux or the 35 f2 summricon, these should not interest you since you have the famed 35-70 2.8.
Maybe a good basic would be the 19mm,35-70,90,180 as a good starting point. From your work that 19mm maybe on the body alot
Okay Chuck one more curve ball 15mm, 21-35, 35-70, 90, 180. Than there would not much more you need . Hmmm
The 15mm is a stellar lens and so is the 19mm I tested them against each other and very equal in the corners the 15mm corners were every so slight behind the 19mm but that maybe a adapter isse on the 1dsMKII at full frame with the crop of the DMR they are very equal and I am talking slight
It's incredibly expensive, but the 15/2.8 really is an amazing lens. To my eyes, it is extremely sharp and in combination with the 1ds (waiting for my DMR to arrive in the next few weeks) seems to resolve detail better than any of the other Leica lenses I have used. Up until a few weeks ago, I also had the 19 ROM (a very sharp performer) so I've had the chance to use both. If you can swing it, with the crop factor of the DMR added into the equation, the 15 will obviously maximize your width if you like shooting wide.
My 90mm Summicron used for the Mexico shot was an early 1980's vintage Summicron. The Summicron for the R remained unchanged optically since it was introduced in the 1970's until the 90mm APO Summicron was released a few years ago. When buying an old 90mm Summicron R, try to get the version with e55 filter threads, rather than the older version that had e54 and series VII filters. My 90mm Summicron is also a Canadian made lens.
Graham was shooting with a newer vintage 90mm Summicron, but not the APO version. It would be the same as my old Summicron, except it has a different hood.
As of a week or so, I acquired the new APO Summicron and it is a stunning lens. The old Summicron is a bit soft at f2, but the new APO is razor sharp wide open.
As for Canadian lenses, all of Leica's most sought after lenses were made in Canada until Leica moved to Solms. That included the 180mm f3.4 APO, Noctilux, 75mm Summilux, and the famed pre ASPH 35mm Summicron-M. I think the Noctilux is still made under contract by the old Leica Canada plant which was Hughes optical and has since been purchased by another company.
It looks like the killer combo for the DMR is a 15/2.8 and 28-90. Add something long (180/280), maybe something fast (35/50 f/1.4) and maybe the APO 90 for use at f/2...
Okay I ran a 3 way lens test 35 1.4 the 35 2.8 elmarit 3 cam and the 21-35 mm. The sharpest overall is the 35 2.8 but it is not as fast as the 1.4 so there is a trade off
But the 1.4 is sharper in the middle
BTW the best color, contrast the 1.4/zoom/2.8
As for lenses, the DMR is very critical of lens quality. I would stick with the more recent lenses such as the 19mm, 21-35mm, 35-70mm f4 , 50mm Summilix (E60) and 100mm Macro.
As I have stated before, the 80mm f1.4 is a nice lens, but only marginally better than the Nikon equivalent. In that range, I would get one of the 90mm Summicrons. The older 90mm Summicron has a nice look to the images and can be found used in the $400-600 range. If you are into the best possible image quality, the 90mm APO Summicron is probably Leica's best lens in that range.
The lens that I found had the most wow factor for people shooting was the new 50mm Summilux. If you need a f1.4 lens, this is the one to get.
As for the 35mm Summicron, it is a fine performer, but once again just a bit better than a Nikon counterpart. The 35-70mm f4 is actually better in the 35mm range than the Summicron. I would get a 35mm Summicron but not spend $1,400 for a used ROM version, but go for an older three cam (E55 -built in hood) in the $400 to $600 range.
Probably the best day to day lens on the DMR is the 28mm f28 Elmarit in the latest rom version. It is sharp wide open with great color and is very small and light. You could skip the 28-90mm zoom if you had this lens.
Geez Robert are you telling me to go the 90 APO AGAIN. Actually been thinking about having both. i am nucking nuts
I paid about 800 for the 35mm sunmmricon , it is a nice lens and quick to focus with . The reason i got it is for event work with flash.
Honestly i love the 80 1.4 but the 90 apo at f2 is better by F4 they seem to be pretty darn equal from what i have found. I go back and forth on the 80 and 90 all the time, still not settled in there. maybe the 100 macro would be the answer and keep the 80 mm. Plus i have the 28-90 coming which is 4.5 at the 90mm slower than dirt but a good travel lens.
I agree the new 50mm 1.4 is a screamer lens, better than any 50 i ever tried , not cheap.
The 28 is a must have unless you get the 21-35 which at the 28mm is very very good at 5.6 there is no difference . The prime shines wide open
The 15 and 19 are just outstanding on the DMR bar none.
The 35mm 1.4 I love what i don't love is the stiff focusing on it, reason i sold it
Let me put it this way to you. If I could only have one lens for the DMR, it would be my 35-70 f2.8, hands down. But if I could only have TWO lenses, the second one would be the 21-35 f3.5. It is a tad slow for low light shooting unless you crank up the ISO, but for normal daylight use I find it a fantastic lens, both in quality as well as size and weight. I have a pretty fair selection of lenses now, but still find myself using the 21-35 quite a bit, and not giving much, if any, ground to others. Bottom line, I think your choice is a wise one, and you will not be sorry starting out with that lens as your only one. And the focusing on it is excellent.
Chuck, the 100 mm Apo-Macro Elmarit is clearly the superior lens, no contest, and for that reason I use it quite a lot on my 1Ds-II as well.
However there are other considerations, focal-length beeing one of them. For my photography getting close enough to a subject can sometimes be difficult; then the reach of the 180 mm is invaluable.
This lens is also very well corrected for geometrical distortion (as are all genuine macro lenses) and therefore better suited to panoramic stitching than a normal 180 mm lens.
So on the whole I fint it quite useful and it stays mostly in my bag in spite of its bulk and weight.
Processing
The basic optimization that needs to be made for the DMR and especially the 1Ds2 images is the black & white point adjustment. Without going into too much detail for this thread, most all images, whether scanned or imaged directly, need their black & white points properly set. Only after this is done will an image 'pop'.
This step is done after RAW conversion in PS by finding the lowest values of RBG in the image and re-setting these numbers to the same value and then lowering them (for example, re-setting an RGB value from 9-13-11 to 3-3-3). The same is done for the greatest white values in the scene (243-250-245 to 253-253-253). This process serves two purposes: it maximizing the dynamic range and minimizing color casts. I think this will clear up some of the differences and level the playing field for a more balanced comparison of say, how the reds truly differ between the DMR and the 1Ds2.
There is also a need to keep the exposures more uniform. I think you've done that while acquiring the images by using a tripod and manual exposure. However, if there is an overall sensitivity difference between the sensors (that is, their ISOs are not linearly responding the same), an adjustment can be done in PS by moving some mid-range RGB value (preferrably a mid-tone gray from a MacBeth chart) and setting them equal for the two sensors. This step could probably be done at the same time as the black & white point is being re-set.
Only after the above is completed is sharpening then applied. Also, as another poster mentioned, the Smart Sharpen filter, or one of Fred's actions, is better than the old USM filter. Finally, during RAW conversion, if the sharpening and luminance smoothing is too great, the resulting image will have excess noise and be very soft. (By working with these latter values, I've had more consistent results between Adobe and C1 Pro with 1Ds2 files.)
The best RAW converter for ease of use and integration has to be Adobe Photoshop CS2.
Leica's provided software, Photoshop elements seems to install too many things that just get in the way of efficient use. Seems more aimed at point and shoot users that take their files to a drug store.
The Imacon FlexColor software would be my suggestion if you want a free converter that does an excellent job. It has a steep learning curve though.
If you are going to pay for software, get Photoshop CS2. You end up with Photoshop plus an excellent RAW converter for the same price as a dedicated converter like Capture One, which only does the conversion (though an excellent job of it) and does not include Photoshop, which is a must for digital image processing.
I have tried all the raw converters, including Silkypix, Photoshop, Flexwhatever(??it was the worst) and the Phase One C1. The C1 was best all around, but expensive, and adds a step to workflow if you want to do a lot of post processing. But it seems to get exposure and color the easiest, and you can output in ProPhoto RGB or other wide gamut color space.
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