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Thread: DMR Image Thread

  1. #251
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    Re: DMR Image Thread

    Quote Originally Posted by HiredArm View Post
    No the D3x is "only" $8000... It's kinda of a shame though since it has the same sensor as the a900 which goes for $3000.
    It is not clear to me that the sensor in the A900 is the same as that in the D3X. If you look at the test results from DXO you will see the dynamic range is higher for the D3X and other results are higher as well. In fact the performance is only a single point behind the Phase P65+ which of course is a very expensive product. Of course there is no sure fire way to tell because neither Sony Nor Nikon is talking about it.

    Could be that Nikon cherry picks the sensors that perform the best (an old semiconductor trick to get top prices for the best performing microprocessors and then "binning" the lesser performing chips to a different price point.} Thus both sensors could come off the same line with the Nikons binned to the top, giving best performance, highest costs etc etc.
    That is strictly a supposition on my part and not necessarily true. But it is an old model that may have been dusted off to separate performance between the two cameras. The performance benefit is real and whether it is worth the price difference is up to the consumer.

    Woody

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    Re: DMR Image Thread

    Jaap - I'm still here, don't mean to leave you out on a limb so here are a couple of images.

    DMR + 80mm






  3. #253
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    Re: DMR Image Thread

    Butterfly wing detail
    DMR + 35-70 f8 100 iso

  4. #254
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    Re: DMR Image Thread

    Rufous-tailed Hummingbird
    Leica DMR 400 APO 2.8 (premodular) w/1.4 APO TC, 1/[email protected], 100 iso.
    Second shot is closeup detail of first image. Processed in Aperture, no sharpening.

  5. #255
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    Re: watching

    Quote Originally Posted by jaapv View Post
    105-280. Am I the only one keeping this thread alive? What happened to the other DMRs
    Sorry, I'll resize some pictures and post up.

  6. #256
    Subscriber Member jaapv's Avatar
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    Re: DMR Image Thread

    Stunning, Lawrence
    JAAP
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    Subscriber Member jaapv's Avatar
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    Re: DMR Image Thread

    Good to see you're still around, CMB, your usual - excellent shots!
    JAAP
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    Re: DMR Image Thread

    Way to go Lawrence!

  9. #259
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    Re: DMR Image Thread

    Thanks Jaap and CMB. Let's revive this thread as there's still nothing in 35mm digital with the micro contrast and fine detail of the DMR with APO glass. I personally wouldn't trade the DMR for anything short of a true 16 bit sensor with in-camera image stabilization. The Sony A900 is a consideration as the 800 APO with 1.4 APO TC is a monster to keep steady... but when the effort is made with proper tripod and head the results are mind blowing.

    A few more below, all taken with the pre-modular 400 APO 2.8 except for the final shot of the tail detail from a Violet-tailed Sylph. This was taken with the 800 APO... though for some reason the exif indicates the 560. I think Leica put the wrong ROM chip in my 2x focus module. (Check out the mites on the beak of the Sword-bill).

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    Re: DMR Image Thread

    Only five attachments per post so the Violet-tail Sylph tail detail is attached below.

  11. #261
    Subscriber Member jaapv's Avatar
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    Re: DMR Image Thread

    How do you do this? Do you use a light trap and flash?
    JAAP
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    The colours of my generation are black and white.

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    Re: DMR Image Thread

    Those are superb Lawrence. I am very impressed.
    My photos are here: http://www.stuartrichardson.com and more recent work here: http://stuartrichardson.tumblr.com/ Please have a look at my book!
    My lab is here: http://www.customphotolab.is and on facebook

  13. #263
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    Re: DMR Image Thread

    Thanks Stuart. Jaap, no light trap here. I've been working on a book on Hummingbirds of the Andes for the past three years. Target is a minimum of 50 different species before beginning the editing process. I've spent on average 40 days on two trips to the Andes each year since 2006 in an effort to perfect this technique. Single Metz 54MZ-3 flash mounted on a RRS ring that clamps to a long lens plate, allowing the flash to be positioned along a 180 degree axis.

    Hummingbird feathers act as prisms, reflecting light and changing colors in ways that can turn blue feathers yellow if the light is not coming from the right direction. While many hummingbird photographers are now using as many as six flash units on tripods positioned around a flower or feeder placed in front of a painted background... I'm looking for a more natural, more realistic way of rendering these amazing creatures. There's only one sun on my planet and nothing looks more fake or contrived, in my opinion, than six flash units freezing a subject positioned in front of a fake background. (For something really sickening see the Jan 07 National Geographic article on Hummingbirds. The author, founder of the Hummingbird Society, catches his subjects in a net and releases them into a white, 1 square meter box sitting in the back of his pickup truck... loaded with strobes. That is anything but a natural look. It establishes a very dangerous precedent, imo, for those who are looking for guidance as to how to photograph hummingbirds.)

    I've never photographed a more challenging subject... like trying to photograph a bolt of lightning after you see it flash. Focus is all zone focus and most shots are done with the 400 2.8 premodular APO lens (with or without the 1.4 APO TC) or the 800 modular. Depth of field is in the "hail Mary" range as I'm shooting 4 to six meters from my subject. Depth of field can be as little as 1/2 inch depending on the f-stop and distance to subject. The effect I'm trying to achieve is to capture the sensation of movement and separate subject from background. This necessitates apertures below 5.6 more often than not as I want soft backgrounds that don't fight with the subject.

    Since I have nothing to practice on at home (now Pacifica, California) it takes a week of solid 8-10 hr days shooting constantly and studying the movements and behavior of different species before I can achieve any level of consistency. There's a huge loss rate initially as it takes time to develop the reflexes needed to anticipate movement and trigger the shutter at the optimum instant. When it all comes together... it's a life changing experience. The big APO glass combined with the lack of an anti alias filter on the DMR makes for jaw dropping results. If I nail the focus (and luck plays a huge part here) there is no need for any sharpening. The DMR sensor (with APO glass) is insanely sharp when focus is on.

    I'm in Colombia at the moment trying to nail down the last six species for the book. Things are more than a little sketchy here... so one has to be extremely careful when moving around with the 35 kilos of camera gear I'm packing. Internet is sporadic and unreliable, so rather than bugger up this DMR thread that's meant for images (with my babble) pm me if you have any questions and I'll do my best to respond when I have an internet connection. A few more smaller images from the collection:

  14. #264
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    Re: DMR Image Thread

    Wow, you made my day!

    I once tried to capture flying bats and it looked like dust spots in the dark...

    Great technique, great subjects + typical "Leica-look" (vivid colors, crisp and clear)!

    Send those images to Leica and you can use the S2 in the future! Mr. Kaufmann, are you listening, give this man a S2! :-)

  15. #265
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    Re: DMR Image Thread

    Bravo once again Lawrence and thank you for taking the time for the explanation. Please feel free to bugger up this thread all you want, I am certain no mind minds at all!

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    Re: DMR Image Thread

    Lawrence, it is really interesting to hear about your tecnic and how you have to work nonstop for a week to get it going. The results are grate but it seems that you had even more fun getting to them. Please tell us about the book when it comes out.

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    Re: DMR Image Thread

    Georgi, CMB Gero;
    Thanks for the vote of confidence guys. I'll keep you posted on the book project.

    Serendipity is key with this subject matter. These little buggers move so fast you never know what you'll get. Success with this gig is a function of long hours and persistence. The DMR and good glass is indispensable as I've seen what others are getting with their gear and they look at the DMR as if it's alchemy (it is). What really kills me is when I'm set up on the Series 5 Gitzo with flash attached, with the 400 or 800 mounted, and someone will come up to me, hand me their point-and squirt camera and innocently ask "Señor: can you show me how to take pictures like yours with my camera?"

    They're dead serious! My friends will whisper "the river is that way. Throw it as far as you can and see how big a splash you can make. Then, study photography for 35 years, study animal (bird) behavior for a few more and then you'll have some success IF you have good equipment!" They'll laugh and turn away as I offer my advice: "First you need a reeely big tripod, like this! If your camera is not steady... the birds will not be sharp!"

    End of lecture. They'll turn away and say "i could never lift your tripod let alone carry it... so I guess I'll have to be satisfied with blurry images..." Nice to have been spared the full lecture...

    The challenge is shooting from 7 am, when the first birds arrive, until it's too dark to focus. Then, after stuffing a big meal in my gullet I'll wash it down with a beer or two and walk back to the hostel (can't afford a hotel when you've burned most of your resources on gear and a MacBook Air) to begin the editing process. This can go until 1 am or later IF there's no power outage and the mosquitos aren't too bad. At 55, the eyes are fine through most of the day... but after dinner and some time on the laptop things start to get a bit hazy. No glasses yet (apart from the one at my side with some Scotch) so I'm grateful for that.

    Morning comes all too early as the roosters start jamming at 4:40 am. Either that... or the clown across the forest who decides to test his new stereo system at 5:45 am on a Sunday in his new home that's just a wood shell with no furniture and windows open. Can you spell "sound baffle?"

    Minutes later after running across the forest trail in my skivvies and sandles I'm hammering on his door. The music stops and he runs downstairs to see what all the commotion is. At the door is a gringo in pinstripes with red eyes and steam pouring out his ears. "What are you thinking my friend? Are you deaf?" A few more choice words follow, all in Spanish, and I've made my point. His tail is between his legs and he promises never to wake up the neighbors again on a Sunday morning. Thank God for small miracles!

    I can't wait till tomorrow... The simple pleasures of birding in the Andes.

    A few more that were pleasant (and unexpected) surprises. And with respect to the last image "Chillin' "... who says hummingbirds aren't smart!

  18. #268
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    Re: DMR Image Thread

    Lawrence, these are just stunning. You are really making that 400mm sing.

    Robert

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    Re: DMR Image Thread

    Robert,
    It's all your fault! I had been looking for a clean premod 400 APO for nearly ten years before I ran into your images over on the old Miranda DMR Bible thread. You sold me on that lens with the many stunning images you posted. There have been no regrets. If there are any shortcomings with that lens they're mine and mine alone. I've stacked both the 1.4 and 2X APO TC behind that lens and the images are just nuts at 4.0!

    I sent you a few frames after I bought the lens as I thought it might be slightly soft (or my sensor might be slightly out of alignment). I took it to Ecuador and shot for 40 days. What I initially thought was "soft" with exposures at 2.8 was that Leica glow that shows up with this lens when shooting wide open. I love the look one gets with bird portraits when shooting wide open. By f4 it's sharp and by 4.8 there's that clinically sharp phenomenon that APO glass is known for.

    I later bought the 800 modular, only to discover that I couldn't get both the 800 and 400 in my LowePro DryZone 2 bag. With luggage restrictions on carryon gear I wasn't about to check either, especially when flying out of the US. The only solution was to pick up the 1X module for the big modular head... so I now have both the pre mod and the mod 400.

    Comparing the two side by side the mod is slightly sharper wide open... but one loses that beautiful glow that the pre modular has. I'll have to eventually let the premodular go as I can't carry both. The 1X and 2X modules will easily fit in my bag, along with the big head... something I couldn't do before so the initial problem has been solved.

    Thank you again for steering my in that direction. It has redefined my photography.

  20. #270
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    Re: DMR Image Thread

    Lawrence:

    Is your pre modular rommed? When I had ROM put on mine, the mod included a new part that gave me a half stop between f2.8 and f4. I think even that half stop improves image quality. Prior to tthe ROM install, it always bugged me that I couldn't shoot at f3.5.

    Robert

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    Re: DMR Image Thread

    Robert,
    My pre modular 400 is not rommed. I couldn't afford to part with it long enough to send it to NJ. Now that I have the modular 1X there's no need.
    Lawrence

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    Re: DMR Image Thread

    Splendid work again Lawrence.

    Here are two from the DMR + 180/2.8, both at 2.8.







  23. #273
    Senior Member doug's Avatar
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    Re: DMR Image Thread

    Lawrence, words fail me. Good luck finding the remaining six species. If I buy your pre-modular 400 will I get pictures like these?

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    Re: DMR Image Thread

    Doug,
    From what I've seen you do with your 560 Telyt... you could make a coke bottle sing! The problem would be the temptation to use up all your sick leave, followed by carpal tunnel and a host of other office disorders that would allow for more shooting and less time at work as this glass (as you've so eloquently stated ) is Crack for photographers.

    I was very happy with my 400 and 560 Telyts until I made the mistake of buying the 400 APO. I couldn't test it first as it was in Europe and the owner didn't know much about it. I took a chance and bought it because it was super clean. I researched the lens for all I was worth and there just wasn't much out there. Then I took it to South America and gave my 280 (pre modular) APO Elmarit a break. It simply redefined everything I thought possible with the big APO glass. I'm still picking up pieces of my jaw from that first session.

    I think Erwin has mentioned on numerous occasions that if you expect the APO glass to perform at it's highest level you need a very stable platform. My experience confirms this in spades. Here are a couple taken with the pre modular 280 APO 2.8, followed by one taken with the 400 pre modular with the 1.4 APO TC, and finally one with the 400 pre mod APO at 3.4. No doubt these could be improved upon had the platform been steadier than it was. After all... the sensor and glass were fine-tuned by fanatics.

    Something to keep in mind: Leica isn't making this glass any longer. Fortunately for some of us... there are those who bought this glass and don't have a clue as to how to get the best from it. They let it go before testing with a proper tripod and head and write it off when they failed to use proper technique. Now if you can get results like this with something that moves as fast as a hummingbird... imagine what is possible with a static subject?

  25. #275
    Senior Member doug's Avatar
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    Re: DMR Image Thread

    Lawrence, thanks again for showing your photos. I hope you don't mind, I've pointed a few people (like, the whole LUG) to this thread as an example of another wildlife photographer using the DMR to produce fantastic photos.

    I agree, seeing photos made with the DMR plus APO glass (280mm f/4 in my case) is a mind-boggling experience. I have over 700 hours of unused sick leave on the books... hmmm....

    I'm curious how you've been managing the DMR's limited battery capacity. You doubtless have several, and it seems you have facilities to re-charge them overnight.

  26. #276
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    Re: DMR Image Thread

    Hi Doug,
    I have four (or is it five?) batteries for the DMR. I also bring the car charger in case there is a power outage (not uncommon in the Andes). As soon as one is spent I plug it into the charger as the DMR is a power hungry beast and running out of juice is not an option for me.

    I don't do much chimping and I generally wait until the day's shoot is over to delete soft or blown images from my 2 gig cards (I always have seven on hand though have never used more than four in a 10 hour shoot). Reviewing images on the DMR's LCD uses battery power and takes me away from the work at hand. By continuing to shoot (and waiting to delete images from the card during the editing process) I miss fewer shots and increase my hit rate. The batteries also last longer as reviewing images uses a lot of battery power.

  27. #277
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    Re: DMR Image Thread

    Lawrence, fantastic images. Leica big glass seems to draw out the subtlety of color so well.

    Kurt

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    Re: DMR Image Thread

    Lawrence, I'll add my thanks for posting these remarkable images. Superb work and a reminder of what the DMR/Leica glass is capable of in the right hands.

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    Re: DMR Image Thread

    Back to using my DMR while my D3 is on loan to a friend who dropped his. My new Mini Cooper JCW Clubman... a blast to drive. My battery died before I got the shot I wanted but at least I have a better idea how to take this kind of shot before next time.

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    Re: DMR Image Thread

    Quote Originally Posted by KurtKamka View Post
    Lawrence, fantastic images. Leica big glass seems to draw out the subtlety of color so well.

    Kurt
    Kurt

    Do these images make you want to have all your modular Apo Telyts back!

    Oh well...........Roger is happy I am sure

    Woody

  31. #281
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    Re: DMR Image Thread

    Thanks David,
    Just don't let it get rusty or gather too much dust. Forums like these can often bring about a costly inertia to find the best possible image maker. It's easy to get swept up in this inertia and overlook what you might have in your hands. Before you know it... the DMR is sold or on the top shelf in the closet and you're shooting with something that can't give you what the DMR can, with a little discipline.

    It's very hard to beat when long glass is needed for distant or small subjects. It's not the fastest camera to work with... but several years ago I shot the Superbike races at Infineon and I was the only shooter in the press paddock who had manual focus. The other seasoned press photogs had 1D2N's and 1D3's and looked at me like I was some kind of nut case. I was the brunt of their jokes until the end of the first practice session. I shot with the 400 and a tripod and they were shooting with their 100-400's. After the first session, we all returned to the press bldg and everyone downloaded their images onto their laptops. All I heard were moans. Everyone complained that the early morning light was too flat and their auto focus was more out-of-focus. They all fiddles with their cameras as if trying to figure out how to set up the thing. They had all been shooting at 8 fps so there was a lot of junk to be deleted.

    I walked over to a group of photogs with my MacBook Pro and asked if they thought what was on my screen was "acceptable"? The question was somewhat innocent as this was the first motorcycle race I'd shot in over 25 years.

    The reaction was pretty amazing. First they looked at the laptop, front and back. Then they looked at the DMR and lens sitting by my backpack. Their expressions were quizzical and totally mystified... as if I was either cheating or there was something akin to alchemy being performed (there was). I had been shooting Ben Spies as he leaned into turns, puck in contact with the pavement, and you could read every word on his helmet and bike clearly. They then looked at their cameras and lenses and for a second I thought they were going to dump their gear in the many trash cans throughout the room. I had one frame per second, or less, but my frames were keepers and theirs were deleted.

    Learn to use what you have. It might surprise you.

    L

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    Re: DMR Image Thread

    I'm back to enjoying the DMR and in particular the colors it produces. One from the beach today...

  33. #283
    Senior Member doug's Avatar
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    Re: DMR Image Thread

    One from a few days ago:



    and another:


  34. #284
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    Re: DMR Image Thread

    Quote Originally Posted by David K View Post
    I'm back to enjoying the DMR and in particular the colors it produces. One from the beach today...
    Looks good ... especially here in Michigan where the last bits of Winter refuse to depart.

    Maybe a tad over sharpened?

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    Re: DMR Image Thread

    it is a cold dark wet june day here as well.. here is one from last summer on a toasty day at the local beach.
    I think this was with the 35lux
    edit..why is it that this looks a bit too yellow but when I click on the image it comes up with a black surround and color is better?
    I "saved for web" as srgb..
    Last edited by paulmoore; 4th June 2009 at 06:40. Reason: looking at the post I noticed the color/saturation

  36. #286
    Subscriber Member jaapv's Avatar
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    Re: DMR Image Thread

    Because your eye has its own built-in colour balance compensator. Or rather the seeing-centre of your brain. The black surround provides the reference.
    JAAP
    http://www.jaapvphotography.eu
    The colours of my generation are black and white.

  37. #287
    Senior Member doug's Avatar
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    Re: DMR Image Thread

    This morning:



    R8/DMR, 280mm f/4 APO

  38. #288
    Subscriber Member jaapv's Avatar
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    Re: DMR Image Thread

    A very beautiful colour harmony, Doug.
    JAAP
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    The colours of my generation are black and white.

  39. #289
    Senior Member doug's Avatar
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    Re: DMR Image Thread

    A few from yesterday in the Sierra Nevada:

    Cliff Swallow:


    Mountain Bluebird:




    The bluebird pair was photographed with a lens that cost me all of US$50. It's an old 560mm f/6.8 that was given to me in poor condition. I stripped the camo tape & gummy residue off, had DAG repair & re-lube the focus, not much either of us can do about the dings & scratches in the glass. Looks like it's a keeper.

  40. #290
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    Re: DMR Image Thread

    Doug - once again, nice images and what a bargain! The Leica R glass and the DMR sensor is really a great combo. Can't wait to see that 560mm bolted onto the front of some Pansonic?!!? body. hahaha

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    Re: DMR Image Thread

    A few from a short stroll on the weekend with the DMR. First two with the 180/2.8, last one with the 80mm.











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    Depressing to be stuck with such old, outdated technology...

    First a big "congratulations and how did you do that?" to Doug for the brilliant Cliff Swallow shot! That was not a zone focused shot and it was not apo glass yet Doug continues to amaze with his Telyt mastery!

    Next, after reading an earlier thread expounding on what a mistake it would be to get a DMR instead of a 5D2 with intent to use Leica glass... and reading the many reasons why the DMR is such an "outdated, lower resolution, non weather sealed, cropped sensor, one card slotted, big and heavy (though lighter than the 1Ds3), slow slow slow, (have I left anything out?) camera..." I'm beside myself that I'm stuck with this piece of kak! Can't decide whether to throw it in the ocean or the trash can as I surely wouldn't think of saddling any second-hand buyer with such garbage! The horror... the horror!

    But before I dump it, I thought I'd dig out a few of the shots I mentioned in an earlier post in this thread: A Day at the Races. I hadn't shot racing since the early 70's and my tired eyes can't compare with what I used to be able to accomplish w/respect to focusing back then. In the early 70's I was shooting a non motor driven Nikon F2A with an 80-200 f4.5 lens, so I wasn't able to get as tight as I now can with my 280 and 400 APO lenses with the horrible cropped sensor on the DMR.

    I guess I just got lucky on that May day in 2007 when the race came to Infineon. I had a press pass and was down on the track with all the heavy hitters who shoot for the magazines etc etc. Heard lots of grunts and groans about what they were getting with their 1D2's and 1D3's with state of the art Canon glass. Bummer that I had to shoot with crappy manual focus APO glass that Leica stopped selling after 1996. Before I shoot myself and discard my DMR, I thought I'd post a few shots from that day just to keep the thread alive.

    Thanks to all who keep the faith in such a miserable, inadequate camera. We're all fellow DMR suffururs so we need to console each other for our masochistic tendencies in continuing to shoot with such a piece of junk.

  43. #293
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    Re: DMR Image Thread

    Since you are quoting my statements, I feel like I should at least respond. Your photos are wonderful, and I am glad the DMR is working for you. I shot with the DMR for three years, and I found it to be an excellent camera. I think I said as much in my words, though you are not quoting any of the praise I had for it. But I still don't think it is nearly as capable or as well rounded as its modern equivalents from Nikon and Canon for the vast majority of shooters. The strength of the DMR is in the glass, the 16 bit color, and in the lack of the AA filter. Those things can help create some exceptional photos, but my contention is that the disadvantages greatly outweigh the advantages for people looking at a DMR now. If the buyer was a long time R shooter and had the 280 and 400mm APO lenses already, my advice might have been different. But I think your photos here are more a testament to your skill than the appropriateness of the DMR to the type of photos you're are showing.

    Anyway, its just my opinion, and I did not mean it as an insult to people still working with the DMR. The poster asked about what people who shot the DMR thought, and I gave my honest experience.

    In any case, in the spirit of the thread, here are some of my old DMR photos that I liked.







    My photos are here: http://www.stuartrichardson.com and more recent work here: http://stuartrichardson.tumblr.com/ Please have a look at my book!
    My lab is here: http://www.customphotolab.is and on facebook

  44. #294
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    Re: DMR Image Thread

    Sorry Stuart!
    Apologies for the caustic tongue in cheek response. It's just that some of us have no need for a camera that shoots fast, has autofocus that "can" exhibit a host of problems, and has two card slots. Sure the batteries are heavy and don't last long and the viewing screen is tiny by comparison to current (and even many old) offerings but how in the devil did we ever manage before digital if all of those things are so indispensable?

    I have five batteries for my DMR. Sure it's extra gear to carry... but the last thing i want is to run out of memory cards and battery power when the hummingbirds are performing for me. Everything I shoot is tripod mounted as I shoot my DMR as if it were a 4x5, so the weight is not an issue. That's just me. I've always tried to optimize the quality of any camera I shoot with. Call it anal... but the weak link in my system will always be me. I can't blame it on the camera.

    I have no use for a full frame sensor. I'd be happy as a pig in truffles if Leica's next offering also had a cropped sensor as it only gets me closer to my birds and the cloud breaks on the outer reefs I shoot in Hawaii. I don't shoot architecture, apart for images that a 30-70mm lens will work just fine on.

    Not everyone needs a 15mm lens (or wider), though one could get the impression from reading any number of different forums that any camera that doesn't have anything wider than a 21mm lens is not worth squat! I'm not quoting you here... just mentioning comments I often see regarding the unavailability of excellent wide angle lenses for Canon and other cameras. I've had the 21 Super Angulon in my bag since 1986 and can count the times I've used it on one hand. It's a wonderful lens when stopped down a bit, but I just prefer the perspective of my 2nd generation 28 Elmarit.

    Given my needs with respect to bird photography I seriously doubt that the Sony or Nikon would improve upon what I'm getting at the sizes I'm able to print my hummingbirds. A print of a 20" hummingbird would appear somewhat obscene, to me at least, and there's nothing I could do with a D3X or A900 that I can't do with my DMR with respect to hummingbirds (apart from needing longer lenses due to the full frame sensor). The lenses, as you correctly pointed out in your post, are the be all and end all for what I do. Put one on the Sony or D3X and try doing stop down metering with flying lightening bolts and see how far you get.

    Would I like more pixels? As long as the sensor is 16 bit and as good on a per pixel level as the DMR the answer is a resounding YES! Focus confirmation for other subject matter would be nice, though I can get by without it. The DMR was a stop-gap measure that still holds it's own against anything currently made provided you don't need fast focus tracking for sports or birds. And since Kaufmann recently announced that Leica was finally getting control of the DMR's software brains from Hasselblad (Imacon) I think it might be a bit premature to say there will never be another firmware release. I personally think that is more likely than a new 35mm camera from Leica that allows use of the R optics. In any case... the only thing I wish for is cleaner files (read: less noise) at 400 asa and above with my DMR as well as a larger buffer.

    I also like the ability to shoot film with my R8's. Show me any other 35mm camera that can do that.
    Respectfully,
    Lawrence

  45. #295
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    Re: DMR Image Thread

    I'd have to agree with Stuart on this ... I used the DMR/9 for many years also ... loved the look without any reservations ... but its lack of versatility made it a less than a practical choice for too many situations that I faced ... and that is a lot of money to be tied up in a limited use system.

    I think it is a speciality camera, and for those who's speciality it fits it is a wonderful set up with the best lenses ever made for 35mm SLR type cameras. In skilled hands it sings a siren's song. Conditions or applications it is not suited for is a different matter altogether.

    Anyone considering the DMR must take honest stock of their applications ... all of them. Being seduced by super skilled shooters that work with-in the boundaries of the DMR can lead to disappointment if their needs are different.

    Not for or against anything, just advocating assessment of real applications and skill level when selecting any gear.

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    Re: DMR Image Thread

    Quote Originally Posted by fotografz View Post
    Not for or against anything, just advocating assessment of real applications and skill level when selecting any gear.
    This excellent advice is often forgotten in making equipment choices or recommendations. One disadvantage the DMR has when making equipment comparisons is that it's image quality is much harder to quantify than the frame rates, number of metering modes and pixels where other brands and models have an advantage. How do we measure the haunting beauty, color and sensuousness of an image file made with the DMR and APO lenses? Left brain or right brain?

  47. #297
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    Re: DMR Image Thread

    Quote Originally Posted by doug View Post
    This excellent advice is often forgotten in making equipment choices or recommendations. One disadvantage the DMR has when making equipment comparisons is that it's image quality is much harder to quantify than the frame rates, number of metering modes and pixels where other brands and models have an advantage. How do we measure the haunting beauty, color and sensuousness of an image file made with the DMR and APO lenses? Left brain or right brain?
    Doug, this is almost the same discussion going on concerning the Sony A900 which has a unique look to the files, but is not for all applications.

    I loved the DMR but could not use it for weddings due to the flash system, lack of low light ability, and slower ability to focus with these aging eyes. But when it sang it was a beautiful voice like no other even to this day.

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    Re: DMR Image Thread

    Quote Originally Posted by fotografz View Post
    But when it sang it was a beautiful voice like no other even to this day.
    Agree with you wholeheartedly Marc. Love my Nikon D3 but there's just something special about the DMR.

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    Re: DMR Image Thread

    Quote Originally Posted by Stuart Richardson View Post
    The strength of the DMR is in the glass, the 16 bit color, and in the lack of the AA filter. Those things can help create some exceptional photos,
    Isn't that the truth! When I bought the DMR it was absolutely the right camera for me. My clients and my personal work both demanded MF quality, but didn't really need MF megapixels. Both the weight and cost of MF digital made it impractical for me. IMO you still don't get better prints than the DMR until you get into MFDBs. Other cameras are far better for pixel peeping, but in the end the print is what matters.

    However, as much as the DMR borders on a religion for some, it is a tool for me, and my needs have changed in a way that makes me think the DMR is no longer the best tool for me, which is why I'm selling mine and looking very hard at a Sony. It is possible that in the end a M8 may win out if I decide that weight is more important than ultimate flexibility.

    Few recent shots:









    Last edited by Bill_Green; 28th June 2009 at 22:22.

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    Re: DMR Image Thread

    For what it's worth, I have my generic settings pretty well dialed in through Flex Color. For the images in the previous post, settings were applied on ingest to Flex Color, saved as tiffs, then resized via photoshop action through Bridge.

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