First time posting an image here. Sigma DP2M.
First time posting an image here. Sigma DP2M.
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Sigma DP2M, Varberg, Sweden
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Here's a post from another forum, probably should have posted it here in the first place, since many of us are more interested in photography first and gear only as a means to an artistic end...
In response to the question "Why did you choose Foveon?..."
It's the only camera I have that captures -- quickly -- what I see.
I'm often with clients and have only a few minutes of free time (and no tripod) to get what I can.
Nothing else comes close.
I just opened a pbase gallery for photos that came out the way I imagined them (with the DP2M) but were disappointments with others (Nikon, Sony and Fuji in my case). I don't have any interest in digging around for, and then posting photos that I *didn't* like, so I won't.
What I posted (and will add to as I dig them out) are photos that I have *tried* several or even many times before and always gave up with because the results didn't match what I saw or wanted to see in the finished file.
Let's say that only 2 cameras still keep me excited about opening up the files, while everything else is usually a disappointment. Merrill is the king for anything but people or low light (the other is the original Fuji x100 -- not for Merrill-like sharpness, of course, but for the flawless color and beautiful character wide open for portraits, high ISO champ and very organic, non-digital look).
In any event, I know more or less when the Merrills are going to be at there best:
1. anything with water is more realistic, the reflections, the depth
2. anything with fabric or fine texture is better, more palpable
3. atmospheric haze, smoke, fog, smog is rendered incredibly realistically
4. anything with intense color will hold detail AND saturation if metered right (so flowers or gold mosaic tiles or brightly colored fabrics don' blow out to nothing
5. trees and foliage have better depth/3d pop etc
6. subtle contrast between very similar colors
7. highlights contain color, and the right color information
8. and *obviously* the ability to resolve detail waaaaay beyond any other bar of soap out there!
note: the original 16 bit tiffs are spectacular, the 8 bit full size jpegs are great, the reduced quality jpegs are still pretty impressive but....in order to get a few dozen onto pbase I had to shrink some, so they are pretty "watered down" by this point. Some are still at full size, so set that as a default
link to full gallery: Foveon Favorites Photo Gallery by ascotinitaly at pbase.com
some quick shots with aml-2...
Leica M240, Sony RX1R, Fuji X-Pro2, Sony RX100 IV, Voigtländer Super-Wide Heliar 15mm 4.5 III, Zeiss Biogon 28mm 2.8, Voigtländer Ultron Asph. 35mm 1.7, Leica Summilux-M 50mm 1.4 Asph., Leica Summarit-M 90mm 2.5, Fuji XF 35mm 2.0 WR, Fuji XF 18-55mm 2.8-4.04 Member(s) liked this post
The stitched panoramas are in a league of their own! I'd tried my hand at stitched panoramas with other cameras -- I'd put 3 or 6 or 12 mushy pics together and wind up with.....200MB of mush! Between the slow, inaccurate alignment software and the unspectacular result, I threw in the towel.
THen I saw some of your panos, Quentin, as well as the others of you who have more time and patience than I generally do, and gave it a shot.
Well, the Merrills catch every bit of the texture, smoke, glass, water, color etc. And the newest version of Microsoft ICE is fantastic and fast, aligns some shots that give other programs trouble, and even has an "auto-complete" feature that sometimes works (if you don't have bits near the edge that are unique, so works best with foliage, roads, wood, etc) I can't believe I'd ever say this, but I Microsloth has made a finished product that works and works well.
I don't have time for Nodal Ninja, and can't usually carry a tripod with me, so exact alignment of the shots in the series is solved with my decidedly "ghetto" solution: a 2-meter yard of twine that sits in my camera bag. Luckily, the DPM no-parallax point is pretty close to where the lens and body meet, so I attach one end of the twine to the barrel there, then stand on the other end. Being careful to rotate the camera level around that vertical gives pretty good results (as long as I don't have anything in the immediate foreground).
Some of the panoramas are original size, best seen by clicking on "original" under the first photo you look at, then it remains the default size.
In any event, I tried attaching a screenshot of my pbase gallery to the original post, but it didn't work.....is it not possible to insert links from that site?
Here's a pic of the gallery, it's here:
Foveon Favorites Photo Gallery by ascotinitaly at pbase.com
Last edited by ascotinitaly; 12th March 2015 at 05:53. Reason: uploaded wrong attachment
The predator in new york with the sigma merrill dp2.
f5.6 1/20 iso 200
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A cold, windy and cloudy day in London yesterday. A few pics, en route to a meeting, so, the weather was what it was. The DP2M fits in my messenger bag a treat.
Busker at the South side of the Millennium Bridge. This is cropped in quite tightly.
Looking East from Blackfriars road bridge. Stitched pano.
Looking East from the Millennium Bridge. Stitched pano.
St. Paul's from the Millennium Bridge
The steel drum busker again but less of a crop. In front of the Tate Modern.
St Paul's from the South of the River under the Millennium Bridge
Blackfriar's Railway Bridge taken as a B & W
And finally, The Black Friar boozer.
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Germany - Cologne ...Again, incredible details, viewing 100 % full resolution...developed with sigma photo pro, adjusted in LR5...
Leica M240, Sony RX1R, Fuji X-Pro2, Sony RX100 IV, Voigtländer Super-Wide Heliar 15mm 4.5 III, Zeiss Biogon 28mm 2.8, Voigtländer Ultron Asph. 35mm 1.7, Leica Summilux-M 50mm 1.4 Asph., Leica Summarit-M 90mm 2.5, Fuji XF 35mm 2.0 WR, Fuji XF 18-55mm 2.8-4.0
adrewdecourcy, Wonderful iridescence in the fish, and the boat b&w has very pleasing tonality and depth.
Each time I come into this thread I fall back in favour of my DP2M. It is an extraordinary camera and sadly one I think Sigma is never really going to better.
While visiting our sons in New York, tried out my newly acquired Sigma Merrill DP2M for street photography.
The camera did surprisingly well without a tripod or monopod.
Here are a few examples.
Last edited by The Smoking Camera; 7th April 2015 at 15:35.
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Wow, you are some street photographer. I love those photographs. I just took delivery of my Merrill DP2 and you have given me the urge to get out there fast and take some photos. The only problem - I will be afraid to show them next to yours.
Like others, I find myself sneaking back to look at DP2M photos, and then starting to use the camera again. When the Gods favor, nothing else can touch it.
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3 years old with dozens of camera and lenses launched since, including generations of FF and aps-c "Nexes", and still setting the benchmark in IQ.
Here are examples of how the Quattro loses highlight detail in comparison with the Merrill
These image were taken with a DP2 Merrill and a DP2 Quattro repectively, both at 1/200 sec at F/8, ISO 100, which was 1 stop over the indicated exposure using the Merrill, but on 0.3 of a stop indicated with the Quattro. These are crops from a centre portion of the image.
The first example is from a DP2Merrill:
And here is a 200% enlargement, with some of the white wall roughtly burned in slightly to bring out detail.
Next are the equivalent image crops from the Quattro
You will see there is detail that can be recovered from the Merrill image, but much less from the white wall in the Quattro image (because the forum reduces the size of the 200% enlargements, you may need to open them in a new window to get the full effect).
Another factor I have noticed is that SPP 6.2.1 does not warn of the loss of highlight detail with the Quattro as accurately as with the Merrill.
I am prepared to accept that the colour balance and also the "naturalnesses" of the image, as well as detail, with the Quattro is marginally better than the Merrill when not being challenged by blown highlights. But this test was conducted at identical shutter, ISO and apertures so they should be broadly comparable.
Interesting Quentin and from your examples plain to see. I often get a small amount of irritation with highlights and the Merrill's,from what I view here from the unadjusted images is that the darks are darker in the Quattro and lights lighter or blown, there must be a better way to explain but it appears that the dynamic range is being forced, or the sensors reading by the software is having to be set at a bias to even work at all, albeit not very well and therefore it appears to be lacking consistent graduation.
Love to try a Quattro some time, but it may well not be until their price drops.
When I use a Quattro, I can see the potential. There is more real resolution, and the colours are better, but the clipping issue then make the camera unusable in many situations. The Merrill is a better bet.
Not much cooking today, I'd be better off in Mevagissey! But at least the sun is out (DP2M)..
Edit: of course, Sigma's excellent implementation of auto bracketing will help the Quattros in tripod-based situations
The Merrills really are remarkable. I recently compared the DPM2 to a Pentax 645D and 645Z (75mm on the Pentax cameras). All shot under a mix of tungsten and daylight using AWB. No PP, just opened in ACR or Sigma's clunky 6.2.1. Certainly not a rigorous test, but I thought you Merrill fans might enjoy these. Full images followed by crops in a separate post. Bottom line, I don't feel I'm losing much when using the Merrill rather than the Pentax under the right conditions.
NB Not one camera got the orange-yellow of the lily.
IMGP0788 copy by tsjanik47, on Flickr
_IGP6026 copy by tsjanik47, on Flickr
_SDI0179 copy by tsjanik47, on Flickr
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Given that digital cameras are like positive rather than negative film when it comes to judging exposure and that the Q appears to have reduced dynamic range (similar to other AFE Sigmas like the SD15?), does this not call for better management of the highlights by the photographer ie underexpose a bit more?
I accept that this will mean reduced exposure and a little more noise in midtones and highlights compared to cameras with more dynamic range but the DR of the sensor is what it is. It'll also need other DR management techniques such as grads, HDR techniques, fill flash, reflectors etc, just like the good old days of slide film.
Or is there something else going on a bit more weird with this highlight blow out problem that is more complex than restricted DR?
The problem is the inelegant way the Quattros' clip. Its sudden and to some extent, unpredictable, and very non-film like.
Certainly filters will help, as will the very neat way Sigma have applied automatic bracketing. But the problem is noise. Underexpose a Quattro and you are in for a rough time.
If you use a Quattro, then you simply must be very careful about anything approaching a possible highlight blow out.
I'm going to give you an example of a shot I took on Morocco in late 2012 with the DP2M that would have been ruined and useless had I take the same shot with a Quattro today.
The woman's face was overxposed, as was the background, but the latitude of the Merrill sensor enabled me to recover it (it was a very high contrast midday sun image).
It's with situations like this that filters are useless. Yes, I could have reduced the exposure, but I might have missed the moment or had too much noise in the underexposed shadow areas.
Im angry, David. I'm bloody angry! the Quattro has potential but it needs development.
By the way - message to Sigma / Foveon here - if you ever do sort out the sensor, let me know, I will be the first to recognise the achievement. Your silence is deafening.
Quite a few people complain about highlight clipping and restricted DR with the SD15. This camera introduced the variable gain analogue front end to Foveon. Some Foveons are ISO-less (like the Merrills and the SD14 and earlier), some (like the Q) have the AFE.
I've not used a AFE Sigma but there have been complaints about earlier models with the AFE that it was hard to manage the highlights. I wonder if it's more do with this than the Q architecture?
Or possibly the problem is something Sigma can sort out from the the processing end. Let's hope so.
Here is a shot that would likely have been lost if I had the DP2 Quattro instead of the DP2 Merrill with me. Shot earlier this week along the Hudson River near Peekskill NY. I sold my Quattro after being frustrated with the highlight problems, and picked up this DP2M used for $375. Has to be the best deal in cameras going.
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Being stuck in the office despite the good weather, I thought I would suggest the following as the introduction for a short essay and wondered whether anyone might rise to the challenge
"in my view, the Sigma DP [1,2 or 3] Merrill is the finest digital camera ever made for the following reasons..."
DP2M as travel camera, currently in Phuket. Before the rain arrived:
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And a few more.