tag:blogger.com,1999:blog-28175154065252171412024-03-13T22:54:37.316-07:00Gary Dean Mercer Clark Photography InsightsPhotography Trends, Reviews,Comments and Opinion for today's digital photographer.Unknownnoreply@blogger.comBlogger11125tag:blogger.com,1999:blog-2817515406525217141.post-26117606068660072402015-06-22T09:32:00.000-07:002015-09-23T13:24:58.205-07:00Megapixel Mania. How many megapixels do I really need?<div dir="ltr" style="text-align: left;" trbidi="on">
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Do photographers need 50 megapixel cameras? </div>
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Canon came out with the 50 MP EOS 5ds so what are the main benefits of shooting with this super resolution camera versus shooting at 24 MP?<br />
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1. Super large out of camera sized images. Canon generally exports images from the camera at 240 Pixels per Inch. That means at 240 PPI---it puts out a 24 x 36 inch image natively from the camera! <br />
A photographer knowing that printers only print at 150 DPI ( Dots per Inch)---you can lower the resolution to 215 ppi with no noticeable difference. I've lowered the print resolution without resampling from 240 ppi to as 180 ppi. in Photoshop to create crisp 32 x 48 inch images! This camera can produce absolutely huge images! No problem.<br />
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In comparison-- A Sony full framed sensored camera produces at 240 PPI out of camera image size of 16.667 x 25 inches--that is still very large! I can easily set the resolution at 180 PPI and get a 22x 33 image that looks tact sharp with lots of detail--thats not resampling the image.<br />
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2. The resolution is so high--there are details that you can't see with the naked eye in the photographs this size unless you zoom in at 100 Percent using a loupe or stick your face into the photograph closer than normal viewing distance. However at normal viewing distance---this level of detail remains hidden in the photograph, so the camera is capturing details that most likely, will never be noticed in the photograph when printed at 13x19 or smaller, unless your break out a magnifying glass to actually visually see the extra details in the photographs. I was startled when I shot across Biscayne Bay Fireworks last July 4th--shooting 2.4 mile across the water with a 300mm lens. I used a loupe at 100 percent to look at the images and could see into people's windows in high rises 2.3 miles away!--(you could clearly see individuals in the windows watching the fireworks from across the bay)---that is crazy resolution already at 24 Megapixels of information captured by the camera's sensor already. When you shoot with a 50 MP camera--expect more surprises---hidden details captured in image that you will never know are there-unless you look at the images at 100 percent on screen enlargement or in the case of a print--pull out a magnifying glass to look. <br />
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3. The large size of the image out of 50MP Canon camera means that the image can be cropped significantly. You have a larger image, so you can crop the image more and not lose so much quality in the crop. Try shooting a 11x17 inch magazine spread with an 20 Megapixel Canon 7D mk II and you'll soon find that you can't crop that image very much--- to make it work. You can shoot a two page spread with a Canon 7D mk II--but you will crop as you shoot--not afterwards. That why myself and other pro photographers soon learn to crop our photos during the shoot process instead cropping images in post production. Even shooting with a 24 MP sensor, there is still very little leeway for cropping images for magazine spreads. This is why some photographers choose to shoot with a full frame sensored camera but I argue that if you shoot at 24 MP or higher, shooting a magazine two page spread is not a problem whether shooting with a full frame camera of cropped sensored camera--the key is the 24 MP " goldilocks range of resolution" in photography--where image details are captured that you can't see unless you look at the image at 100 percent or stick you face into the photo. You won't have the luxury of cropping afterwards as much in post production, but I argue that the approach of shoot first and crop later is just lazyness on the part of the photographer---I crop images as I shoot without even thinking about it that it has become second nature for me. Cropping afterwards just doesn't work with my shooting style but if I had all that extra real estate of a full frame 50 MP sensor---maybe my shooting style would evolve and adapt to all that extra real estate and megapixels.<br />
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4. Bragging rights. I bet if you walk down the street with a Canon 5ds 50MP camera--you have some serious bragging rights---Just look at the Canon Ads---headlined, "50 Megapixels!) with just a highlighted photo of a 5Ds in the background of the ad! Canon's marketing is all about its class leading huge 50 MP images the camera produces.<br />
One can argue that compelling images are much more important than bragging rights but if owning the biggest, best and newest camera technology at 50 MP gives your bragging rights or impresses a client so much that you get hired for the job---good for you. As for me, I want a camera that meets my many needs as a photographer and luckily I discovered early on that I could save a bunch of money by shooting with a cropped sensor, high resolution camera in the 24 MP range and exited the camera upgrade treadmill awhile back. For me, if the camera does everything I need it to do and meets my needs---I don't need the biggest and best camera to shoot with---I need a " good enough" camera that has all the bells and whistles that I need to complete assignments. In fact, I shoot with a cropped sensored Sony A77mk II professionally. Whats to not like? $900 dollar camera competes with cameras thousands of dollars more expensive, saves me lots of money and performs like a champ.<br />
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Below are commercial images I shot that have been enlarged to billboard size from my Sony A77<br />
( 24 MP) camera and my Sigma DP2M ( Approximately 28 MP) camera for a client in Miami Beach. In the first image, I stitched 4 images together from my Sony A77 producing a fence sized image. Not bad for a 24 MP cropped sensored camera---right? I keep reading articles where photographers claim that you can't really stitch images together because of moving element in the photo etc--but that is a bunch of nonsense. Fast moving objects will appear blurred in a panorama, so care should be taken in the subject, time of day and weather conditions. You may have to clone out some movement blur, but I rarely find a landscape where I can't stitch together the images afterwards and make it appear as a perfect panorama!<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-3gTl6mA05Fc/VYgd_0pttPI/AAAAAAAAI7E/cBe6go1YJ_s/s1600/southgatePanorama-Mediumsize%2Bcopy.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://1.bp.blogspot.com/-3gTl6mA05Fc/VYgd_0pttPI/AAAAAAAAI7E/cBe6go1YJ_s/s320/southgatePanorama-Mediumsize%2Bcopy.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sony A77 panorama ( Stitched image)</td></tr>
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This next image was shot with a Sigma DP2M---which outputs an approximate 25-29 MP image. I know Sigma advertises it as a 40MP camera---but that is referencing the number of photo sites on the camera's sensor--not the actual resolution..but I'm not going to argue about the resolution of the DP2M---Just want to show you how large the images out of camera can be enlarges without serious degradation from an affordable APS-C crop sensored camera! Remember--this is NOT a 42-50 MP camera---it is less than 30 MP--approximately. The level of detail in this huge billboard sized image is hard not to notice.</div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-j_ZNBvNB8GU/VYgfZgNk-PI/AAAAAAAAI7Y/PoSFkE3k8No/s1600/15416647689_1b7ef4b2e4_z%2Bcopy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://3.bp.blogspot.com/-j_ZNBvNB8GU/VYgfZgNk-PI/AAAAAAAAI7Y/PoSFkE3k8No/s320/15416647689_1b7ef4b2e4_z%2Bcopy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sigma DP2M APS-C cropped sensored image.( Approximate 25-28 MP)</td></tr>
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So the argument that you can't shoot large images with an APS-C crop sensored camera is just not a trip down reality lane. In my humble opinion---ANY camera that shoots at over 24 MP in resolution or higher, whether Full framed or APS-C Cropped sensor in today's camera market, will probably meet the needs of the majority of camera users. In addition, those on the fence about buying full frame vs APS-C sensored camera can save some money shooting with a less expensive cropped camera versus buying a full frame model. If you want to go really cheap-- You can buy a Sony A6000, 24 MP camera for $599 with a decent kit lens and shoot such a wide range of subjects, under so many different conditions, low light, high ISO with few limitations. Shoot above ISO 3600 and you start to see some noise in the resulting image, but luckily, the noise pattern from Sony Sensors tends to resemble film grain, so the effect can actually be used to add drama to an image. But please remember--24 MP is the "goldilocks range of resolution" in my opinion. Anything 24MP resolution or higher will probably do just fine---full frame or cropped sensor.</div>
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So are there any advantages to shooting at lower resolution 24 MP versus buying a 50 megapixel sensored camera?</div>
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1. Cost! A Sony A77MK II with 24 MP sensor costs $899.00 and includes a battery grip, whereas the super sensored 42 MP cameras like the Sony A7rII--costs $3200 for the that extra image real estate and the Canon 5Ds comes in at around $3600 range. So the 50 MP camera is more expensive to own. I can own three Sony A77 mk II for the price of one Sony A7RII. However, you can also purchase full frame 24 MP cameras from Sony and Nikon for around $1200 or more or spend around $2000 for a full frame 22 megapixel Canon 5D MK III. Thats some serious savings over the hugely expensive Canon $3600 EOS 5Ds 50 MP camera by choosing a 24 MP full frame camera---about 1/3 to 1/2 the cost.</div>
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2. Higher speed shooting. Shooting at 24 MP means for more frames per second---for example, the Sony A77 MK II 24 MP camera can shoot at 12 Frame per second The Canon 5Ds shoots at 5 frames per second. These large sensored camera require large buffers and don't shoot as fast as full frame 24 MP camera which can achieve 7 frames per second versus the 5 frames per second of the 50MP Canon. I suspect that the Canon could shoot at higher frame rates, in cropped modes, but apparently when you shoot cropped sensored with the 5ds---it still captures all the image information--50 MPs of information---anyway----yes---it is processing all the information from the chip, then discarding the extra information afterwards. It would make better sense to me that if I set the camera on a 1.6 cropped mode-only the information in the masked area will be processed by the camera, with less data captured, faster frame rates could be achieved. this would dig into cropped sensor sales of the Canon 7D MK II which is sadly still languishing at 20 megapixels.<br />
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3. You might need to upgrade your computer. Those 50 MP files from the Canon are huge to process! Older computer models from just a few years ago, may need memory upgrades, added storage space or even a processor upgrade. Upgrading your camera to 42 MP or 50 MP may force some users to have to upgrade their computers to handle the large files an you will fill up your hardrives much faster meaning more disk storage will be needed. Having to upgrade your computer equipment because you bought a new camera is a hidden cost of a new camera purchase. If I stick with a full frame or cropped frame camera in the 24 MP range--what I call the" goldilocks" range of resolution, I don't have to upgrade my computers and I capture loads of detail in my images already that can't be seen anyway under normal viewing conditions.</div>
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So do you want bragging rights of a 50 Megapixel camera, need that extra real estate of huge 24x36 image out of camera natively or just need a practical affordable camera that meets your needs as a photographer and doesn't break your bank or force you to upgrade your computer?<br />
Any camera full frame or cropped sensored camera in the goldilocks range of resolution will most likely meet the majority of users needs. Do we need 50 MP cameras? As long as companies produce higher resolution sensors with more megapixels, there will be buyers. Marketing departments love megapixels even if the average consumer doesn't have a clue as to what a megapixel is.<br />
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You get better price/performance from shooting in the 24 MP" goldilocks" range of resolution. The brand of camera that you shoot with is a personal choice, but 24 MP is 24 MP and produces very large images. so shooting with the Canon 5ds really comes down to how big you need to shoot your images and I suspect many landscape photographers with dreams of large 5x7 foot photographs and murals like I shoot will really lust after the Canon, but I suspect it is overkill for today's camera market but only time will tell.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2817515406525217141.post-3161454590057155762014-01-22T13:00:00.000-08:002014-02-03T11:59:23.421-08:00Interview with Roland Wolff,Vice President of Marketing for Leica USA at the Art Basel Miami 2013 Leica Lounge---Miami Street Photography Festival, 2013.<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial;"><b style="font-size: 15px; line-height: 17px; white-space: pre-wrap;">Background: Leica was the only camera manufacturer to show its support of the Miami Street Photographer Festival during Art Basel week 2013. Leica provided a VIP lounge, educational tent, educational programs, special promotions, dealer on spot and lectures from professional photographers that shoot with Leica cameras.</b><span style="font-size: 15px; line-height: 17px; white-space: pre-wrap;"> </span></span></div>
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Note: Leica was the ONLY manufacturer present at the Miami Street Photography Festival in Miami,Fl. Leica provided a VIP lounge, Educational Tent, Extensive Product Displays, Knowledgeable staff and local dealers onsite. (Here are excerpts from the 30 minute interview with USA Leica Marketing VP Roland Wolff).</div>
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GDMC: Welcome to Miami. Can you give me your first impressions of Leica's involvement with the Miami Street Photography Festival during Art Basel here in the Wynwood Art District? </div>
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Roland: I just relocated from Miami up to New England recently, so I know Wynwood better than most people here, because I lived here, not in Wynwood, but there are several galleries here, there are photo studios we used to work with that we did events. You could call it [ Wynwood] crazy without offending anybody as this used to be a district that you would feel quite uncomfortable coming into, you would not feel safe.</div>
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GDMC: Yes, you wouldn’t want to get caught here after certain hours..</div>
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Roland: Absolutely not..every photo studio was fenced off with barbed wire, it was indeed not safe around here. When you now see what’s going on out here, how many street cafes,bars,design stores, work spaces, galleries have opened here in the last two or three years and its a very colorful interesting neighborhood, when we were talking to the Miami Street Photography Festival about the right location, I actually felt that Wynwood had an interesting mix, Rougher Parts…</div>
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GDMC: With a little bit of edge as we would say…</div>
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Roland: If you go a couple of blocks, one way you can find maybe a burned out car, but then you go two blocks the other way, you are in a very nice urban environment with a restaurant</div>
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at the corner.</div>
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GDMC: This district lends itself to street photography because there are so many interesting artwork on buildings everywhere you walk..seems to me that this would be a paradise for street photography and there are so many interesting characters to photograph here..</div>
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Roland: Absolutely, especially during art basel. You don’t see this on an every day basis during the week, so it feels different now, its never been like this, I don’t know this Wynwood.</div>
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GDMC: Its certainly made a shift in a positive direction.</div>
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Roland: Unbelievable.</div>
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GDMC: Recently Leica purchased the Sinar corporation. Would you care to comment about this purchase and how it is going to be incorporated into Leica brand? What are Leica’s future plans regarding Sinar?</div>
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Roland: I’ll be honest that I have very little knowledge of what the master plan is behind the purchase or acquisition of Sinar, but it has been a company that we had our eye on for awhile, I think its about three or 4 years ago where we almost acquired them and then the deal fell through last minute. Its a company whoever you talk to here, me personally, I learned photography on a Sinar P2---its a phenomenal company that made precision photographic instruments..When I was a young kid in a photo studio, still life photography and the owner would only swear by using the best equipment. So Sinar with Rodenstock lenses at the time to him was the absolute best.</div>
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GDMC: Rodenstock lenses have always had a good reputation…</div>
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Roland: We make really good lenses too, but Rodenstock lenses are also good, so its something that was probably in my blood, I do love the company, I think that in the large format world,they stand for very much the same that Leica stands for. So the business that they do is complimentary to what we do, we obviously with the introduction of the S system are moving up not in terms of quality, but in terms of performance into the pro segments and its a bit of speculation on my part, I could see synergies between our high end S system, the technology that goes into the development of sensors,processors and then maybe technology that is being used on the sinar camera and Sinar back, but thats future dreams. Sinar at this point in time is very very lean, a small company with very little turn over, so its not going to have an immediate impact on our bottom line but I think it gives us another way of developing products using our core competencies and technology that we have developed to take it even a step further.</div>
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GDMC: Lets talk about the Leica S System---a medium format camera in a DSLR form, not a boxy film based system adapted to take digi backs. What is different about the S System that makes it stand out against the competiion?</div>
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<a data-mce-href="http://us.leica-camera.com/photography/s_system/" href="http://us.leica-camera.com/photography/s_system/" style="color: #44bbdd; text-decoration: none;">Leica S System</a></div>
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Roland: I think the key to the S system and where we may have an edge over some of the other systems out there as it was a new system that we were able to develop from scratch. Ground up. Completely new. We could say ,lets optimize-- Lets go out there, talk to the photographers, Lets ask them what they want and thats what we did. We did a market study with some of the leading studios, some of the leading photographers, did confidential interviews with them where they gave us their opinions about what was lacking in that market segment, however I will say of course a lot of of studios and photographers are very heavily invested into certain products, so it certainly is one thing to give us advice on the product that we should make and we made that product, but then for some photographers to switch their entire workflow equipment to actively start using the S system takes a little bit more. We are slowly changing that situation as the S system has been very well received.</div>
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GDMC: Lets talk about the price. The S body can be purchased for around $23,000 and a 70mm normal lens for around $6000.00. Seems to me like a competitive price point for a system that is going used in a studio environment on a daily basis, when we talk about economies of scale, talking about the quality of lenses….</div>
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Roland: Can’t disagree with you there.. We are educating on multiple levels and multiple fronts. We are making appointments with the photographers in their studio, we are talking to the rental houses, helping the rental houses, working with assistants, digital techs and we are working with colleges where we are very active in education.</div>
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GDMC: Makes sense to put the S system into the hands of the next generation of photographers in colleges…that makes total sense.</div>
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Roland: Thats why we put the S System into their classes. The interesting thing is that in a professional environment it’s obviously also about the workflow and there’s very established solutions out there and the software solution that we work with is Lightroom by Adobe which has improved dramatically in the last few years and we see it as an advantage for us.</div>
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GDMC: I really wish all of the manufacturers would follow Leica’s lead and use the DNG format as most professional photo editing programs play well with DNG raw files--Am I correct in understanding that Leica is using the DNG standard for its raw files, not some proprietary raw format? </div>
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Roland: In all of our cameras for the raw file we use the DNG.</div>
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GDMC: How would you describe a Leica in one sentence? What makes it so special? There is a misconception that Leica is a brand only purchased by rich guys and snobs and at the same time a total lack of understanding of the cost of hand making a product versus high volume mass production. So how would you describe a Leica to those naysayers trying to peg Leica as some elitist camera brand? </div>
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Roland: Its a little bit more difficult to explain what a Leica is in one sentence, but its interesting that we did an event with Rolls Royce and I saw some parallels between a Leica and a Rolls Royce, how the make their product, how they have specialist, one person who paints the interior of the car, like we have more than one person that paints the numbers and lettering that you see on the camera is painted on by hand. When people come to the factory in Germany they see how the product in made, the clean rooms, white coats. They put every little piece of the camera together by hand with the greatest precision...Everyone that leaves the factory says “ Now I understand” We have videos that show how the camera is made as well but here is another aspect of it---we know that our camera is not for everyone. We consider it a tool--not a luxury. We are trying to make the best tool possible. We don’t want it to be perceived as a luxury. Yes we do have people that buy Leica because they can afford it, they see it as an investment.</div>
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If you look at the photographers that were here that shoot with Leica, Bruce Gilden, Alex Web and Maggie Stebber ,Constantine Manos, they use Leica and go where it hurts, there is nothing snobbish about any of them. They use the Leica to tell stories and are extremely socially engaged. They have a story to tell and they feel that the Leica is the best tool for them to tell that visual story.</div>
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GDMC: The big camera manufacturers have paid professional photographers endorsers, hacks or pitch men pushing their cameras. How is Leica different? I was told that Leica features great photographers and photography but none of the featured photographers are paid to endorse Leica cameras.</div>
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Roland: We don’t do endorsements. We share a common mission with our photographers. We help them talk about their work which they are passionate about. We support projects that are genuinely what Leica stands for, like the Miami Street Photography festival-- it was obvious--their intention is 100 percent in line with what we are trying to promote but we don’t do sponsorships in the US, we don’t do sponsorships because we get so many requests. If we have a photographer that goes on assignment and they have such an interesting project and they might need an extra body for a couple of weeks, we try to work on that kind of level to support the photographer but in return we ask that they share and talk about what they do, Can we do an interview with you, Show some of your work, the Leica blog, Do a lecture for us, Can we do an exhibition project, do a book signing?---this approach in turn helps both of us. We have very direct feedback from our photographers and are a small company which allows us to have a close relationship with photographers shooting with Leica cameras.</div>
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GDMC: Why should someone buy a Leica body when they can cut corners, save thousands by purchasing a A7 or other brand, get a mount adaptor and use their existing Leica glass? Will they get the same results?</div>
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Roland: This goes back to your earlier question of what is Leica is about. I don’t mean this in any shape or form to dismiss other camera manufacturers but we always strive to do the best and thats not the market that Canon, Sony and Nikon is in. It doesn’t make sense for them as they are obvious more of a mass market product. We always strive to do the very best in this segment and that comes at a price. We cut no corners.</div>
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GDMC: Imitation is the greatest form of flattery..right?</div>
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Roland: Yes. So actually whenever we have products coming out that were trying to copy us--it has helped us. It hasn’t hurt us because Its has opened the market and people may have entered into a market that before they didn’t consider. What happens is that when you put a Leica lens on another camera--I have not done this so I can not say that this is going to happen when you put it on a Sony, Fuji or any of the others but in past experience when you put that lens on a camera that was made to work with that lens versus a camera that was made to work with other lenses, its not going to be the same results. The sensor on the Leica body is designed specifically to work with Leica lenses with special micro lens offsets on sensor that is optimized to work with Leica and lenses made since 1956.</div>
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GDMC: So the readers thinking about picking up a Sony A7 or other body, using a Leica mount adaptor and Leica lens are not going to get the same results as shooting with a Leica body and sensor specifically designed for Leica glass?</div>
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Roland: Again I haven’t tested this but with past experience with other products that was the result. People will try this---and it will be interesting to see what results they get. </div>
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GDMC: Thank you for your time and interview.</div>
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Roland: Thank you.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2817515406525217141.post-23305662062813118092013-09-16T07:24:00.001-07:002013-09-19T03:10:59.850-07:00Art Deco Inspired Artist Show at the Art Deco Welcome Center--South
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I prepared a video from the August Exhibition at The Miami Beach Art Deco Welcome Center. It was a very nice show featuring some really interesting artwork of sculptures, portraits and scholarly research as well in addition to my art deco inspired images. Enjoy.</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/kvBOfIAdbkI?feature=player_embedded' frameborder='0'></iframe></div>
<br>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2817515406525217141.post-43854741847062715282013-09-16T07:23:00.002-07:002013-10-30T19:12:39.907-07:00Purchase Gary Dean Mercer Clark Photographs Online<div dir="ltr" style="text-align: left;" trbidi="on">
Purchase original Gary Dean Mercer Clark Art Deco Inspired Photographs online at Decorator prices. Same high quality images that I sell in galleries with one difference---these are unsigned decorator/ enthusiast images. Fine Art America uses the highest quality printers and technology available today providing 100 percent guaranteed photographs with a 30 day return guarantee if you are not satisfied. In each series, I only sign 10 images with 2 artist proofs made, so collectors that want the original signed proof or signed collector series images--contact Gary Dean Mercer Clark at 305-982-7519--Precious Sunshine Inc. <br />
I recommend that these photographs be printed on Metal---It produces outstanding colorful, vibrant images or having the images laminated under acrylic. If you purchase the images framed or as stretched canvas---Alway have them printed on glossy paper, glossy sprayed canvas to bring out the the best of the images.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2817515406525217141.post-60854747647724995782013-05-01T18:55:00.001-07:002013-05-02T09:36:12.002-07:00Custom Grip Needed for My Tiny Sony RX100--Enter Richard Franiec's Custom Grip for the Sony RX100<br />
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<span style="font-size: small;">The Sony RX100---The Ultimate Camera Grip Design Challenge!</span></h2>
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<tr><td class="caption" style="background-color: #333333; border: 1px solid black; cursor: text; font-size: 11px; margin: 10px; max-width: 250px; padding: 6px; text-align: left; vertical-align: top;"></td><td class="caption" style="background-color: #333333; border: 1px solid black; cursor: text; font-size: 11px; margin: 10px; max-width: 250px; padding: 6px; text-align: left; vertical-align: top;"> Product Stock Images © 2013 Richard Franiec</td></tr>
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When I first got the Sony RX100 as a carry in my pocket all the time camera, I was really worried about it sliding out of my hands. I have medium size hands with very long fingers and the beautifully finished smooth metal surface of the Sony RX100 seemed slippery to me. I decided very quickly that I needed to find an add on grip as soon as possible. I decided to go with one of Richard Franiec's custom grips. I had put one of his grips on my Sigma DP2M which you can read about here in this <a data-mce-href="http://www.dpreview.com/articles/2090101023/the-dp1dp2-and-dp3-merrill-custom-grip-by-richard-franiec" href="http://www.dpreview.com/articles/2090101023/the-dp1dp2-and-dp3-merrill-custom-grip-by-richard-franiec" style="color: #44bbdd; text-decoration: none;" target="_blank" title="DP1, DP2 and DP2 Merrill Custom Grip by Richard Franiec">article</a>, so I was already familiar with the high quality of Richard's camera grips. My selection criteria for purchasing a grip remained the same as before:</div>
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1. The grip must not look like an add on camera grip. It must look as though it is part of the original camera design. No clunky add on designs. </div>
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2. I didn't want a cheap plastic grip. Can't stand them.</div>
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3. I didn't want a grip that would add substantial bulk or weight to the camera. I bought this tiny camera for a reason---so it fit into the front or back pocket of my blue jeans, shirt pocket etc.</div>
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4. The grip must be precision made and high quality so that it can withstand years of use and it must match the existing camera's finish.</div>
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5. It needs to be reasonably priced.</div>
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At first when I installed the grip, I had my misgivings about the design. It seemed large compared to the tiny camera body---but I was comparing this design to the grip Richard designed for the Sigma DP Merrill series compact cameras - like trying to compare apples to oranges. Different sized bodies, different design criteria, so I wrote Richard Franiec and ask him about the design choice and size of the grip in relationship to the size of the Sony RX100. He responded : "RX100 grip was possibly the biggest challenge to design to date. If you’ll look at the “naked” RX100, you can easily notice that the distance from the lens housing to the edge of gripped side is very short. To create space for the middle finger I had to move the ridge to the outside as far as I could and to raise the ridge area so it will provide the positive support. All that integrated with the camera control layout for best ergonomics. I think that the grip blends with the camera body quite well." --Richard Franiec</div>
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Fair enough. The grip met my #3 design criteria of not adding substantial bulk or weight and it easily fit in my front and back jeans pockets and shirt pocket which was important to me. I had to take this grip and camera out and so some serious shooting!<br />
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Verdict: This grip is a " must have" for the Sony RX100!</h3>
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I couldn't have been further out in left field with my first impressions of this grip. What was I thinking? After shooting hundreds of shots with the grip on the Sony RX100, I am satisfied that the grip is the perfect match for the RX100. Richard really did meet this difficult design challenge and designed the perfect grip of the RX100. Did I mention that I have medium sized hands and very long fingers? </div>
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<tr><td class="caption" style="background-color: #333333; border: 1px solid black; cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; text-align: left; vertical-align: top;"> Look How Tiny this camera is in my medium sized hands! Notice the wrist strap on my wrist! Not taking ant chances dropping this tiny camera. The image quality coming out of this miniature point and shoot sized camera is amazing too. </td></tr>
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I have more confidence shooting with the Sony RX100 now as I don't feel like at any moment the camera is going to pop out of my hands and go crashing to the floor---and thank goodness for that wrist strap or it would have been a disaster when I first shot with the RX100. </div>
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The aluminum grip molds perfectly to the camera and is held to the camera with space age two sided tape from 3M designed for hot and cold temperature use. It is not coming off easily, but can be removed without damaging the camera and reattached if needed. The grip is made from a solid block of machined aluminum that is sealed using hot distilled water to seal the anodizing finish. Anodizing is an electrochemical process which changes surface structure of aluminum. Different dyes are used in the process to achieve the desired color. No paint is used per se. The anodized surface has vastly improved hardness and corrosion resistance compared to the base metal.<br />
The grip is high quality and precision made. Once you install it and use it, you won't ever think about it again as it just becomes part of the camera. Below is a short video clip I shot handheld with my iPhone, so I left the lens closed as to not obscure the view of the grip and its ergonomic curves .</div>
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<iframe data-mce-src="http://www.youtube.com/embed/GNgZPAtHeZY?rel=0&autohide=1&wmode=transparent" frameborder="0" height="326" src="http://www.youtube.com/embed/GNgZPAtHeZY?rel=0&autohide=1&wmode=transparent" width="580"></iframe></div>
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The Richard Franiec Sony RX100 grip meets the criteria that I was looking for, it is light, doesn't add substantial weight or bulk to the camera, fits in my pants and shirt pockets and is precision made of high quality machined aluminum with a finish matches the Sony RX100 so it doesn't look like an add on grip. The price is also reasonable at $34.95 USD plus shipping. Once you put this grip on the Sony RX100, you will not want to take it off again. It can be purchased via this <a data-mce-href="http://www.kleptography.com/rf/#camera_rx100" href="http://www.kleptography.com/rf/#camera_rx100" style="color: #44bbdd; text-decoration: none;" title="Sony RX100 grip">website</a>.</div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-2817515406525217141.post-55792989622234553612013-03-21T01:36:00.002-07:002013-03-21T18:08:22.140-07:00Pro Photographer Ambush with the Sigma DP2 Merrill Camera<h2>
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Scenario: Hand a Top Pro Model Photographer a DP2 Merrill and get his opinion on the image quality.</h2>
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<span data-mce-style="font-family: Times, 'Times New Roman', serif; font-size: x-large;" style="font-family: Times, 'Times New Roman', serif; font-size: large;">John Fisher is one of Miami's Top Photographers and happens to be my neighbor. He has photographed Presidents at the White House, covered the Olympics and shot for fashion magazines like ELLE. I like his attitude about the pro photography business. He said that hot new photographers come in, make a splash in the business with the newest " In" look and they really peak with amazing success then other photographers copying his look and after a while the artistic director decides he can go with photographer XYZ as the, "Look" is no longer " In". Nothing worse than washing out of the business because you can't change to keep up with current trends or continue to be creative and grow as a photographer. John knows how it feels to be at top of his game but has been consistent, knowing that its not being on top that is important, it consistently getting the commercial work that makes a great photographer--he doesn't need to be number one--just wants to be the one that gets called for the job. At 66 when most photographers are retiring, John loves what he is doing so much that he's hoping that he gets another five good years in the business and hopes to retire at the top of his game. John has an amazing eye for color. His technical knowledge is superb, honed from years of experience. An artistic director can describe to John what he is looking for and John intuitively always delivers. Whether shooting movie stars, Tv personalities or upcoming models or Presidents, he tells me that the key to being a photographer isn't being great It about being "good"all the time and having the right expectations.</span></div>
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<span data-mce-style="font-family: Times, 'Times New Roman', serif; font-size: x-large;" style="font-family: Times, 'Times New Roman', serif; font-size: large;">John asked to use my dogs as models in the photo shoot. "Buddy" and " Lucky the Gangster" agreed to do the shoot with the Actress. During the break, John told me the parameters he wanted set on the DP2M (F4.0 Aperture Priority, Auto White Balance) and I handed him the camera.</span></div>
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<span data-mce-style="font-family: Times, 'Times New Roman', serif; font-size: x-large;" style="font-family: Times, 'Times New Roman', serif; font-size: large;">He only had a couple minutes to snap some shots. It was ironic that he chose to photograph dogs as there is a joke in the photography world that the first thing photographers always do with a new camera in their hands is to photograph a pet. Here are my pets below--you might recognize these famous dachshunds . If you click on the images, you should be able to see larger versions.</span></div>
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<a data-mce-href="http://2.bp.blogspot.com/-K8TbgYHwxKs/UUq3EDQ-__I/AAAAAAAACbg/ko0Teg-6JK4/s1600/_SDI0077standardcolorAutoWB.jpg" href="http://2.bp.blogspot.com/-K8TbgYHwxKs/UUq3EDQ-__I/AAAAAAAACbg/ko0Teg-6JK4/s1600/_SDI0077standardcolorAutoWB.jpg" style="color: #44bbdd; text-decoration: none;"><img alt="" border="0" data-mce-src="http://2.bp.blogspot.com/-K8TbgYHwxKs/UUq3EDQ-__I/AAAAAAAACbg/ko0Teg-6JK4/s640/_SDI0077standardcolorAutoWB.jpg" height="426" src="http://2.bp.blogspot.com/-K8TbgYHwxKs/UUq3EDQ-__I/AAAAAAAACbg/ko0Teg-6JK4/s640/_SDI0077standardcolorAutoWB.jpg" style="border: 0px; cursor: default;" width="640" /></a></div>
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Raw image processed a the standard color setting</div>
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Raw Image processed with the new Monochrome and film simulation--very slight film grain was added for a retro look</div>
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Raw image above with a rough film image grain added to simulate black and white film.</div>
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<a data-mce-href="http://4.bp.blogspot.com/-Fp_omlunzcg/UUq25d2d08I/AAAAAAAACbU/YvyqEqi6ALs/s1600/_SDI0080BWfilmgrain,less+rough.jpg" href="http://4.bp.blogspot.com/-Fp_omlunzcg/UUq25d2d08I/AAAAAAAACbU/YvyqEqi6ALs/s1600/_SDI0080BWfilmgrain,less+rough.jpg" style="color: #44bbdd; text-decoration: none;"><img alt="" border="0" data-mce-src="http://4.bp.blogspot.com/-Fp_omlunzcg/UUq25d2d08I/AAAAAAAACbU/YvyqEqi6ALs/s640/_SDI0080BWfilmgrain,less+rough.jpg" height="425" src="http://4.bp.blogspot.com/-Fp_omlunzcg/UUq25d2d08I/AAAAAAAACbU/YvyqEqi6ALs/s640/_SDI0080BWfilmgrain,less+rough.jpg" style="border: 0px; cursor: default;" width="640" /></a></div>
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Raw image above processed with the Monochrome with very slight film grain for a rich blacks and contrast.</div>
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<a data-mce-href="http://3.bp.blogspot.com/-olbYcvHDShQ/UUq3SivbR1I/AAAAAAAACbo/Gy0eYCoUBXs/s1600/_SDI0083.jpg" href="http://3.bp.blogspot.com/-olbYcvHDShQ/UUq3SivbR1I/AAAAAAAACbo/Gy0eYCoUBXs/s1600/_SDI0083.jpg" style="color: #44bbdd; text-decoration: none;"><img alt="" border="0" data-mce-src="http://3.bp.blogspot.com/-olbYcvHDShQ/UUq3SivbR1I/AAAAAAAACbo/Gy0eYCoUBXs/s640/_SDI0083.jpg" height="426" src="http://3.bp.blogspot.com/-olbYcvHDShQ/UUq3SivbR1I/AAAAAAAACbo/Gy0eYCoUBXs/s640/_SDI0083.jpg" style="border: 0px; cursor: default;" width="640" /></a></div>
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Raw Image with Standard Color setting</div>
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<a data-mce-href="http://1.bp.blogspot.com/-Q6IEF7rRCp0/UUq3Ur51XbI/AAAAAAAACb0/d5NPavVcKus/s1600/_SDI0083BWlowcontrastNograin.jpg" href="http://1.bp.blogspot.com/-Q6IEF7rRCp0/UUq3Ur51XbI/AAAAAAAACb0/d5NPavVcKus/s1600/_SDI0083BWlowcontrastNograin.jpg" style="color: #44bbdd; text-decoration: none;"><img alt="" border="0" data-mce-src="http://1.bp.blogspot.com/-Q6IEF7rRCp0/UUq3Ur51XbI/AAAAAAAACb0/d5NPavVcKus/s640/_SDI0083BWlowcontrastNograin.jpg" height="426" src="http://1.bp.blogspot.com/-Q6IEF7rRCp0/UUq3Ur51XbI/AAAAAAAACb0/d5NPavVcKus/s640/_SDI0083BWlowcontrastNograin.jpg" style="border: 0px; cursor: default;" width="640" /></a></div>
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Raw Image Above Processed with no film grain added with the monochrome setting in SPP 5.5.</div>
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<a data-mce-href="http://2.bp.blogspot.com/-oh9gp-DBJOk/UUq3nwSUi-I/AAAAAAAACcA/I8UC4vQgBUE/s1600/_SDI0083ColorNuetralAutoWB.jpg" href="http://2.bp.blogspot.com/-oh9gp-DBJOk/UUq3nwSUi-I/AAAAAAAACcA/I8UC4vQgBUE/s1600/_SDI0083ColorNuetralAutoWB.jpg" style="color: #44bbdd; text-decoration: none;"><img alt="" border="0" data-mce-src="http://2.bp.blogspot.com/-oh9gp-DBJOk/UUq3nwSUi-I/AAAAAAAACcA/I8UC4vQgBUE/s640/_SDI0083ColorNuetralAutoWB.jpg" height="426" src="http://2.bp.blogspot.com/-oh9gp-DBJOk/UUq3nwSUi-I/AAAAAAAACcA/I8UC4vQgBUE/s640/_SDI0083ColorNuetralAutoWB.jpg" style="border: 0px; cursor: default;" width="640" /></a></div>
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The image above was processed in Sigma Photo Pro Software 5.5 raw in the Neutral colorspace.</div>
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<a data-mce-href="http://3.bp.blogspot.com/-cDO9noVdcek/UUq31PMzTDI/AAAAAAAACcY/PU7od9G5fJU/s1600/_SDI0085standardbolorAutoWB.jpg" href="http://3.bp.blogspot.com/-cDO9noVdcek/UUq31PMzTDI/AAAAAAAACcY/PU7od9G5fJU/s1600/_SDI0085standardbolorAutoWB.jpg" style="color: #44bbdd; text-decoration: none;"><img alt="" border="0" data-mce-src="http://3.bp.blogspot.com/-cDO9noVdcek/UUq31PMzTDI/AAAAAAAACcY/PU7od9G5fJU/s640/_SDI0085standardbolorAutoWB.jpg" height="426" src="http://3.bp.blogspot.com/-cDO9noVdcek/UUq31PMzTDI/AAAAAAAACcY/PU7od9G5fJU/s640/_SDI0085standardbolorAutoWB.jpg" style="border: 0px; cursor: default;" width="640" /></a></div>
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The raw image above was processed using the Standard color setting.</div>
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<a data-mce-href="http://2.bp.blogspot.com/-WVpeykTQVek/UUq3r1liV4I/AAAAAAAACcI/dpAATqvoPtU/s1600/_SDI0085BWFilmgrain.jpg" href="http://2.bp.blogspot.com/-WVpeykTQVek/UUq3r1liV4I/AAAAAAAACcI/dpAATqvoPtU/s1600/_SDI0085BWFilmgrain.jpg" style="color: #44bbdd; text-decoration: none;"><img alt="" border="0" data-mce-src="http://2.bp.blogspot.com/-WVpeykTQVek/UUq3r1liV4I/AAAAAAAACcI/dpAATqvoPtU/s640/_SDI0085BWFilmgrain.jpg" height="426" src="http://2.bp.blogspot.com/-WVpeykTQVek/UUq3r1liV4I/AAAAAAAACcI/dpAATqvoPtU/s640/_SDI0085BWFilmgrain.jpg" style="border: 0px; cursor: default;" width="640" /></a></div>
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Raw Image above processed with the Monochrome setting with film grain added.</div>
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<span data-mce-style="font-size: x-large;" style="font-size: large;">John added an artistic touch to the photos by lying on the ground, shooting at the dog's level and playing with the perspective of the scene, taking advantage of the slightly wide " Normal" 30mm f2.8 lens of the DP2M which is equivalent to about a 45mm lens on a full frame camera. He nailed the moving dogs with the tiny camera. Notice how Lucky the Gangster is having a party, barking, growling for attention and having a good time? I thought for sure that the shoot with the DP2M was a bust. I was surprised that John got any images in focus--as the dogs never stopped moving. However this is where experience of shooting Olympic sports comes in handy and knowing how to shoot moving objects with a simple camera. You have to remember that many of us " Old Timers" spent years using manual focus cameras to shoot sports, so any autofocus is dramatic step up in accuracy and keeper rates.</span></div>
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<span data-mce-style="font-size: x-large;" style="font-size: large;">Later on I showed him the edited images he was very surprised at the high image quality. I enlarged the images to 100 percent, then to 200 percent and John was amazed. He had no idea that he was shooting with a camera that can produce an image comparable to one shot with a 30 MP camera. Here is the interview I did with John below.</span></div>
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<span data-mce-style="font-size: x-large;" style="font-size: large;"><a data-mce-href="http://www.youtube.com/watch?v=0YPDe_9DuwM&feature=youtu.be" href="http://www.youtube.com/watch?v=0YPDe_9DuwM&feature=youtu.be" style="color: #44bbdd; text-decoration: none;" target="_blank">Pro Photographer Ambush with the Sigma DP2 Merrill--John Fisher Interview.</a></span></div>
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<span data-mce-style="font-size: x-large;" style="font-size: large;">One of the great things about being surrounded by great photographers like John is that I get to sit down, swap stories and always learn something, a tip etc. John said he'd been shooting with Paul C Buff Einstein studio lighting for years and thinks it is just about the best available as these strobes give consistent color temperature as you dim them, saving having to redo custom white balance every time you increase or dim the strobes. Said these were the best in the business---so I thought that was a very nice tip for someone out there thinking about picking up some studio strobes. I know when I upgrade my strobes, I'm going with Einstein strobes.</span></div>
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<span data-mce-style="font-size: x-large;" style="font-size: large;">John is looking forward to when I get a DP3M and getting his hands on it and really put it to the test. I'll keep you posted.</span></div>
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<span data-mce-style="font-size: x-large;" style="font-size: large;">HAPPY SHOOTING!</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2817515406525217141.post-82816170110451931732013-03-15T19:07:00.000-07:002013-03-15T19:07:03.847-07:00<br />
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"><br />Looking for a compact flash solution for your Sigma DP Merrill series compact cameras? The Sigma EF-140 DG SA-STTL and the Metz 20 C-2 are my two choices for use on Sigma's DP Merrill cameras and are the only compact flashes that I would trust to put on my Sigma DP2M or any DP Merrill series compact camera.</span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Sigma EF-140 DG SA-STTL Flash</span></h2>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">The most advanced flash is the Sigma EF-140 DG flash which features TTL which prior to the exposure, the camera tells the flash to fire a pre flash, then the camera measures the exposure and decides what flash level output is needed to provide the right amount of light. This happens at a fraction of a second before the photo captured. This type of flash system works very well. Just put the flash on the camera, turn it on, and set your camera to use the TTL flash as a fill flash or as a regular flash---It is simple, not much thinking involved, etc. It can be used manually as well. The Sigma EF-140 sells for around $89.00 ( USD).</span></div>
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<tr><td class="image" style="background-color: #555555; border: 1px solid rgb(0, 0, 0); cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; text-align: center; vertical-align: middle;"><a data-mce-href="http://www.dpreview.com/files/articles/0615171882/71UaZaBXwfL._SL1200_.jpg" href="http://www.dpreview.com/files/articles/0615171882/71UaZaBXwfL._SL1200_.jpg" style="color: #44bbdd; text-decoration: none;" target="article-0615171882"><img alt="" border="0" data-mce-src="http://www.dpreview.com/files/articles/0615171882/520_4x3/71UaZaBXwfL._SL1200_.jpg" height="520" src="http://www.dpreview.com/files/articles/0615171882/520_4x3/71UaZaBXwfL._SL1200_.jpg" style="border: 0px; cursor: default;" width="390" /></a></td></tr>
<tr><td class="caption" style="background-color: #333333; border: 1px solid black; cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; vertical-align: top;"> Sigma EF- 140 DG TTL Flash</td></tr>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">I have used Sigma flashes on my Canons and Sigma DSLRs for years and never had any issues with Sigma's TTL flash technology. It works. The EF 140 DG has a guide number of 14 ( iso100/m) and 16mm focal length illumination coverage. It was designed for the original DP1 which had a wide angle lens. Takes two AAA batteries and has a recycle time of about 5.5 to 6.5 seconds. It lacks any flash bounce feature. </span><span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">There were some complaints that Sigma didn't put a built in flash on the DP Merrill series. I disagree. I dislike built in camera flashes. I prefer to have full control over the flash without built in limitations. I want a compact unit that also enables me to bounce flash which is a desirable missing feature.</span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">I notice that the EF-140 DG flash is no longer mentioned on any Sigma website but can still be purchased from internet retailers. I don't know the status of this product long term. Is it being refreshed with a new replacement or is being discontinued? The bottom line is that the EF 140 DG flash was designed for a wide angle camera, so it should work with the DP1M, DP2M and DP3M but lacks a bounce flash feature. No word on this from Sigma yet. I've put an information request in on the status of the EF 140 DG. If I get an update from Sigma--I'll share that with you.</span></div>
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<h2 data-mce-style="text-align: center;" style="border-bottom-color: rgb(255, 204, 0); border-bottom-style: solid; border-bottom-width: 1px; color: #ffcc00; font-weight: normal; text-align: center;">
<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">The Metz 20 C-2</span></h2>
<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">So if you want a compact flash with the bounce feature, </span><span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">would you brave using an old school Automatic flash? </span> <span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Enter the Metz 20 C-2 compact manual ( AUTO) flash. It retails around $49.00 USD. </span><br />
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<tr><td class="image" style="background-color: #555555; border: 1px solid rgb(0, 0, 0); color: white; cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; text-align: center; vertical-align: middle;"><a data-mce-href="http://www.dpreview.com/files/articles/0615171882/DSC06666.jpg" href="http://www.dpreview.com/files/articles/0615171882/DSC06666.jpg" style="color: #44bbdd; text-decoration: none;" target="article-0615171882"><img alt="" border="0" data-mce-src="http://www.dpreview.com/files/articles/0615171882/520_4x3/DSC06666.jpg" height="520" src="http://www.dpreview.com/files/articles/0615171882/520_4x3/DSC06666.jpg" style="border: 0px; cursor: default;" width="390" /></a></td></tr>
<tr><td class="caption" style="background-color: #333333; border: 1px solid black; color: white; cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; vertical-align: top;">Metz 20 C-2 mounted on the hotshoe of a DP2M with Richard Franiec's custom camera grip attached.</td></tr>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">The Metz flash uses older "auto" flash technology with the sensor located on the front of the flash. It doesn't use advanced TTL ( through the lens) metering technology where the camera communicates with the flash. It has a guide number of 20 at iso 100/m 21 degree coverage ( 35mm focal length) You have two automatic apertures to choose from if you want to use the flash automatically--F 2.8 (green) and f5.6 (red) on the back switch. </span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Here is how it works. Attach it to your camera. Any camera that can trigger a flash with its hot shoe will work with this unit. Any camera that has an X socket can use a cable to attach to the flash's own sync socket </span><span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">as well. The Flash foot has a locking switch that attaches it firmly to the camera hot shoe.</span></div>
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<tr><td class="image" style="background-color: #555555; border: 1px solid rgb(0, 0, 0); cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; text-align: center; vertical-align: middle;"><a data-mce-href="http://www.dpreview.com/files/articles/0615171882/DSC06681.jpg" href="http://www.dpreview.com/files/articles/0615171882/DSC06681.jpg" style="color: #44bbdd; text-decoration: none;" target="article-0615171882"><img alt="" border="0" data-mce-src="http://www.dpreview.com/files/articles/0615171882/520_4x3/DSC06681.jpg" height="520" src="http://www.dpreview.com/files/articles/0615171882/520_4x3/DSC06681.jpg" style="border: 0px; cursor: default;" width="390" /></a></td></tr>
<tr><td class="caption" style="background-color: #333333; border: 1px solid black; cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; vertical-align: top;">Notice the locking mechanism on the base of the flash foot. Much better than a tightning wheel in my opinion. This securely attaches the flash to the DP2M or any standard camera hot shoe.</td></tr>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Set your camera on manual exposure. Set your camera at the base flash shutter speed at 1/125th of a second or 1/200th --whatever flash sync setting your camera uses (Remembering that this flash can be used on any camera). Set your camera ISO at 100. Put your aperture ( lens opening) at either f2.8 or f5.6. Remember if you select f2.8, then you need to put the switch on the back of the camera to f2.8 ( Green). If you use f5.6, then put the switch on the f5.6 setting(Red) The rest is simple. Point the camera and shoot. The sensor meters the light and the duration of the flash is set for proper exposure. Be careful not to block the sensor with a large lens hood. The flash does not get its information from the camera or communicate with the camera. It is assuming that you set the camera on its native flash sync, set the F stop at f2.8 or f5.6 and the iso at 100. There is a contact on the bottom of camera's hot shoe that triggers the flash. A synchronizing cable can be used with a camera's X socket ( if it has one) and Metz's own sync socket. The DP Merrill series cameras don't have an X socket. I wanted to include this information for those that might purchase this unit for other compact camera with standard flash mount or X sockets.</span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">The newest firmware update of the DP Merrill compacts allows flash sync speeds at 1/125th sec. I've tested flash sync speeds at 1/125 and 1/200th sec. Both speeds work with the DP2M. The flash also offers full manual control using the chart on the back of the flash. </span></div>
<table border="0" cellpadding="0" cellspacing="0" class="images single mceItemTable" style="border-collapse: collapse; border: 1px none rgb(187, 187, 187); color: white; cursor: default; font-family: Tahoma, Helvetica, sans-serif; font-size: 12.222222328186035px; margin: 1em auto;"><tbody>
<tr><td class="image" style="background-color: #555555; border: 1px solid rgb(0, 0, 0); cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; text-align: center; vertical-align: middle;"><a data-mce-href="http://www.dpreview.com/files/articles/0615171882/DSC06678.jpg" href="http://www.dpreview.com/files/articles/0615171882/DSC06678.jpg" style="color: #44bbdd; text-decoration: none;" target="article-0615171882"><img alt="" border="0" data-mce-src="http://www.dpreview.com/files/articles/0615171882/520_4x3/DSC06678.jpg" height="520" src="http://www.dpreview.com/files/articles/0615171882/520_4x3/DSC06678.jpg" style="border: 0px; cursor: default;" width="390" /></a></td></tr>
<tr><td class="caption" style="background-color: #333333; border: 1px solid black; cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; vertical-align: top;">There is a nice camera calculator on the back of the Metz 20 C-2. Notice the Off, M-Manual, f2.8 ( Green) and the f5.6 (Red) switch positions. If you want to shoot at higher ISOs and use the flash manually, just set it on the M setting and follow the lines on the chart which will tell you based on how far away you are from the subject you are shooting, what the Iso and f-stop should be asssuming that you are using a standard camera sync speed which universally is usually 1/200th a sec. There is also an LED that turns green when the flash is ready and it also can be used to manually flash the camera. The LED on the right side will flash red indicating correct exposure of the scene. If it doesn't flash--you have under exposed the scene.</td></tr>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"> For novices, these new terms may be confusing --ISO, F-stop, shutter speed etc. </span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">So here is a quick primer:</span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"><em><strong>ISO</strong></em>--this is the setting that makes the sensor more or less sensitive to light. This term is a carry over from the days of using film. You would buy Iso 100 film for shooting during the day and iso 400 or higher for shooting indoors or low light.</span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"><em><strong>F-stop</strong></em>- This is simply the size of the opening of the camera lens aperture. This is controlled by little blades that you will see change the size of the iris in the lens by letting in more light or less. The smaller the number--the more light enters the lens( Example-f2.8). The larger the number , the smaller the iris which means less light reaches the sensor( Example -F5.6)</span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"><em><strong>Shutter speed</strong></em>--This is the speed that the shutter opens and closes. Most flash sync settings are 1/125th of a second to 1/200th of a second.</span><br />
<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"><br /></span>
<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">The Metz 20 C-2 has a LED on the right backside of the unit that briefly flashes red to confirm the correct exposure.</span><br />
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Using the Metz flash is very simple but using the light bouncing feature can produce underexposure if not used in the right situation. You will get underexposed photos if you don't have anything overhead to bounce the light off of. In a house with an 8 foot high white ceiling--there should be no problem shooting with the bounce flash option, but you may have to increase your ISO setting from 100 to 125 or 200 respectively--or change your shutter speed from 1/200th to 1/125th as well.</span><br />
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<table border="0" cellpadding="0" cellspacing="0" class="images single mceItemTable" style="border-collapse: collapse; border: 1px none rgb(187, 187, 187); cursor: default; margin: 1em auto;"><tbody>
<tr><td class="image" style="background-color: #555555; border: 1px solid rgb(0, 0, 0); color: white; cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; text-align: center; vertical-align: middle;"><a data-mce-href="http://www.dpreview.com/files/articles/0615171882/DSC06686.jpg" href="http://www.dpreview.com/files/articles/0615171882/DSC06686.jpg" style="color: #44bbdd; text-decoration: none;" target="article-0615171882"><img alt="" border="0" data-mce-src="http://www.dpreview.com/files/articles/0615171882/520_4x3/DSC06686.jpg" height="520" src="http://www.dpreview.com/files/articles/0615171882/520_4x3/DSC06686.jpg" style="border: 0px; cursor: default;" width="390" /></a></td></tr>
<tr><td class="caption" style="background-color: #333333; border: 1px solid black; color: white; cursor: text; font-size: 11px; margin: 10px; max-width: 520px; padding: 6px; vertical-align: top;">The pop up bounce flash feature demonstrated on the DP2M. It tilts 30, 45, 60, or 90 degrees!</td></tr>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"><br /></span>
<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">You can always use the chart on the back of the flash and shoot manually. Pick the ISO you want to use, the distance away from the subject and the chart will tell you what the F stop should be used. Expect to fiddle with the controls and experiment if you are going to be bouncing the flash. It can be tilted to 30- 45- 60 or 90 degrees. The flash duration is between 1/1200 to 1/25000 of a second with a color temperature of 5500K. It is designed to be used at iso 25 to 400. The written manual has formulas that you can used for more advanced features like fill lighting etc. Note: Read the manual. </span><br />
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;"> The nice thing about the Metz is it's simplicity with its two Auto flash Fstop settings of F2.8 and F5.6. The addition of having the ability to bounce the light and the low cost for this pocketable flash make it a good option for use with your DP Merrill compact series cameras or any camera for that matter. If you need through the lens TTL flash, the only unit available is the </span><span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Sigma EF-140 DG with a slightly higher price tag minus the bounce feature. You can still put a full size Sigma EF 610 Standard or DG super Flash on a DP Merrill series compact camera. Some of the other manufacturers make smaller TTL flashes for their respective brands, so you might have a compact solution if you are using another brand.</span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Do I recommend the Sigma EF-140 DG over the Metz 20 C-2 ? No--that depends on your needs. If you don't need to bounce flash and want a small pocketable TTL unit, then the Sigma EF-140 DG will suit your needs. If you need to bounce flash, the Metz 20 C-2 is a better choice. The downside with the Metz flash is that it can take up to 8 seconds to recycle the flash depending on what battery type you use and there is a stern warning against ever using Lithium AA batteries with this flash. Metz states that the flash must be turned on for 10 minutes ever 3 months to prevent the capacitor from degrading.</span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">I should mention there are more powerful manual </span><span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">flashes available from Metz and Vivitar. Both cost around $89 USD if you want to go the auto sensor on the flash route instead of the Sigma TTL options. Full size flashes look mammoth on DP Merrill cameras (DP1M, DP2M , DP3M). Pick what will work best for you. The Sigma EF-140 DG is the simpler more sophisticated solution while the Metz requires more user input but offers the tilt reflector. Of course, you could own both. </span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Finally--the obligatory first pet photos!</span></div>
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<table border="0" cellpadding="0" cellspacing="0" class="images twoBottom mceItemTable" style="border-collapse: collapse; border: 1px none rgb(187, 187, 187); cursor: default; margin: 1em auto;"><tbody>
<tr><td class="image" style="background-color: #555555; border: 1px solid rgb(0, 0, 0); color: white; cursor: text; font-size: 11px; margin: 10px; max-width: 250px; padding: 6px; text-align: center; vertical-align: middle;"><a data-mce-href="http://www.dpreview.com/files/articles/0615171882/_SDI0589.jpg" href="http://www.dpreview.com/files/articles/0615171882/_SDI0589.jpg" style="color: #44bbdd; text-decoration: none;" target="article-0615171882"><img alt="" border="0" data-mce-src="http://www.dpreview.com/files/articles/0615171882/250_4x3/_SDI0589.jpg" height="187" src="http://www.dpreview.com/files/articles/0615171882/250_4x3/_SDI0589.jpg" style="border: 0px; cursor: default;" width="250" /></a></td><td class="image" style="background-color: #555555; border: 1px solid rgb(0, 0, 0); color: white; cursor: text; font-size: 11px; margin: 10px; max-width: 250px; padding: 6px; text-align: center; vertical-align: middle;"><a data-mce-href="http://www.dpreview.com/files/articles/0615171882/_SDI0590.jpg" href="http://www.dpreview.com/files/articles/0615171882/_SDI0590.jpg" style="color: #44bbdd; text-decoration: none;" target="article-0615171882"><img alt="" border="0" data-mce-src="http://www.dpreview.com/files/articles/0615171882/250_4x3/_SDI0590.jpg" height="187" src="http://www.dpreview.com/files/articles/0615171882/250_4x3/_SDI0590.jpg" style="border: 0px; cursor: default;" width="250" /></a></td></tr>
<tr><td class="caption" style="background-color: #333333; border: 1px solid black; color: white; cursor: text; font-size: 11px; margin: 10px; max-width: 250px; padding: 6px; vertical-align: top;">Auto Mode ( RED) F5.6, iso 100 at 1/160th sec</td><td class="caption" style="background-color: #333333; border: 1px solid black; color: white; cursor: text; font-size: 11px; margin: 10px; max-width: 250px; padding: 6px; vertical-align: top;">Auto Mode ( Green) f2.8, iso 100 at 1/160th sec</td></tr>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Buddy </span><span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">agreed to model for me on short notice. I accidentally knocked the shutter sync speed from 1/200th to 1/160th or a second--Whoops!--but the Metz flash was very forgiving.</span></div>
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<span data-mce-style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-large;" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">HAPPY SHOOTING!</span></div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-2817515406525217141.post-40436818694690959912013-03-14T23:41:00.000-07:002013-09-16T07:27:51.100-07:00Sigma DP1M,DP2M,DP3M flash options- the Metz 20 C-2 or the Sigma EF-140 shoe mount flash?<h3>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">There are currently two flashes that are small and fit on top of the Sigma DP Merrill Series compact cameras, the DP1M, DP2M and DP3M that I would trust. The most advanced flash is the Sigma EF-140 DG flash which features TTL which prior to the exposure, the camera tells the flash to fire a pre flash, then the camera measures the exposure and decides what flash level output is needed to provide the right amount of light. This happens at a fraction of a second before photo is shot. This type of flash system really works very well. Just put the flash on the camera, turn it on and you can set your camera to use the TTL flash as fill flash or as a regular flash---It is simple, not much thinking is involved etc. It can be used manually as well. The Sigma EF-140 sell for around $89.00 ( USD).</span></div>
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<a href="http://4.bp.blogspot.com/-QnNspRHxXkM/UUIDFvKPTCI/AAAAAAAACY4/9eGPRqxxwns/s1600/71UaZaBXwfL._SL1200_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-QnNspRHxXkM/UUIDFvKPTCI/AAAAAAAACY4/9eGPRqxxwns/s320/71UaZaBXwfL._SL1200_.jpg" width="266" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">I have used Sigma flashes on my Canons and Sigma DSLRs for years and have never had any issues with Sigma's TTL flash technology. It works. The EF 140 DG has a guide number of 46' (14.02 m) at ISO 100 and 16mm focal length illumination coverage as it was designed for the original DP1 which had a wide angle lens. Takes two AAA batteries and has a recycle time about 5.5 to 6.5 seconds. The flash lacks a bounce flash feature.</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">There were some complaints that Sigma didn't put a built in flash on the DP Merrill series compact cameras. I disagree. I really dislike built in camera flashes. I like to have full control over what flash I put on a camera, but I also want a compact flash that also enables me to bounce the flash as well.</span><br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">I notice that the EF-140 DG flash is no longer mentioned on the Sigma website but can still be purchased from internet retailers so I don't know the status of this product long term--whether is it being refreshed with a new replacement or is being discontinued. But the bottom line is that the EF 140 DG flash was designed for a wide angle camera, so it should work with the DP1M, DP2M and DP3M but lacks a bounce flash feature. No word on this from Sigma yet. I've put an information request in on the status of the EF 140 DG, so if I get an update from Sigma--I'll share that with you.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">So if you are wanting a compact flash with bounce feature, </span><br />
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">would you brave using an old school Automatic flash with Tilt reflector?</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Enter the Metz 20 C-2 compact manual flash. At $49.00 (USD) pictured below.</span><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-sThC18V0xjU/UUKSMUp_x8I/AAAAAAAACZI/FfQYHlHXGgg/s1600/DSC06666.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://2.bp.blogspot.com/-sThC18V0xjU/UUKSMUp_x8I/AAAAAAAACZI/FfQYHlHXGgg/s640/DSC06666.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sigma DP2M with Richard Franiec's add on grip and the Metz 20 C-2 flash</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-pZuC3BvUtGQ/UUKSMVKP6-I/AAAAAAAACZE/qSG4rI6DJck/s1600/DSC06681.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://4.bp.blogspot.com/-pZuC3BvUtGQ/UUKSMVKP6-I/AAAAAAAACZE/qSG4rI6DJck/s640/DSC06681.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sigma DP2M with Metz 20 C-2 flash. Notice the locking switch at the foot of the flash.</td></tr>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">This flash has a guide number of 20 at iso 100/21 degree coverage ( 35mm focal length) You have two automatic apertures to choose from if you want to use the flash automatically--F 2.8 (green) and f5.6 (red). Here is how it works. Attach it to your camera ( Any camera that can trigger a flash with its mount will work with this flash or any camera that has an X socket can use a cable to attach to the flash's own sync socket</span><br />
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<a href="http://4.bp.blogspot.com/-EVYffq0kafs/UUKSM7WaroI/AAAAAAAACZU/iH2X_x7iwtA/s1600/DSC06684.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-EVYffq0kafs/UUKSM7WaroI/AAAAAAAACZU/iH2X_x7iwtA/s400/DSC06684.jpg" width="300" /></a></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"> as well. The Flash's foot has a locking switch that you lock when you attach the camera to the top of the camera flash shoe. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Set your camera on manual exposure. Set your camera at the base flash shutter speed at 1/125th of a second or 1/200th --whatever flash setting your camera uses. (Remembering that this flash can be used on any camera) In the case of the DP Merrill series compacts, set your camera ISO at 100. Then put your aperture ( lens opening at either f2.8 or f5.6) Remember if you select F2.8, then you need to put the switch on the back of the camera to F2.8 ( Green). If you use f5.6--then put the switch on the f5.6 setting( Red) The rest is simple. Point the camera and shoot. This is an automatic flash but not a TTL (through the lens) flash. It uses a sensor on the front outside of the flash so be careful not to block the sensor with a large lens hood. The flash does not get its information from the camera or communicate with the camera. It only receives the trigger from the camera's hot shoe, telling it to flash.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The external flash sensor meters the scene and figures out what the flash output should be. The newest firmware update of the DP Merrill compacts allows flash sync speeds at 1/125th sec. I've tested flash sync speeds at 1/125 and 1/200th sec and both work with the DP2M. Of course you can use the chart on the back of the flash and set the flash manually as well based on how many feet away you and use different Iso other than two auto setting choices. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"> For novices, this may seem daunting with all these new terms--ISO, F-stop, shutter speed etc. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">So here is a quick primer:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i><b>ISO</b></i>--this is the setting that makes the sensor more or less sensitive to light---a carry over from the film days when you would buy a iso 100 film for shooting in the daytime and iso 400 or higher for shooting in lower lighting conditions. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i><b>F-stop</b></i>- This is simply the size of the opening of the camera lens aperture. This is controlled by little blades that you will see change the size of the hole into the lens by opening and closing the hole. The smaller the number--the more light that is allowed into the lens to the sensor Example-f2.8. The larger the number , the less light that is allowed to enter and hit the sensor, Example --F5.6.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i><b>Shutter speed</b></i>--This is how fast the shutter opens and closes letting light in to hit the sensor. Most flash sync settings are 1/125th of a second to 1/200th of a second. The advantage of TTL flashes that these meter through a camera's lens and the camera and the flash are communicating with each other to provide accurate scene illumination. The Metz has you do some innitial settings, then the flash meters the scene and gives the amount of light it thinks the scene needs and then the right LED will flash red afterward briefly to confirm that you got the correct exposure.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Using the Metz flash is really very simple. Remember if you use the bounce setting---you will get underexposed photos if you don't have anything overhead to bounce the light off of. In a house with an 8 foot high white ceiling--there should be no problem shooting with the bounce, but you may have to increase your ISO setting from 100 to 125 or 200 respectively--or change your shutter speed from 1/200th to 1/125th as well. You can always use the chart on the back of the flash and shoot manually. Just pick the ISO you want to use, how many feet you are away from the subject and the chart will tell you what the F stop should be set at. Expect to fiddle with the controls and experiment if you are going to be bouncing the flash. It can be tilted to 30- 45- 60 or 90 degrees. The flash duration is between 1/1200 to 1/25000 of a second with a color temperature of 5500K. It is designed for to be shot at iso 25 to iso 400. The written manual has a some nice math formulas that you can use to figure the exact setting to use the flash for more advanced features like fill lighting etc. Note: Read the manual. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">I've really never understood what all the fuss was about it being hard to use manual flashes or the older " Auto" flashes that came before TTL type flashes used proprietarily by each camera manufacturer. Surprisingly, there are quite a few of us from the film days that still know how to manually use flashes but this is a simple skill that might come in handy for novice photographers or newbies to flash photography. The nice thing about the Metz is it's simplicity with its two Auto flash Fstop settings of F2.8 and F5.6. The addition of having the ability to bounce the light and the low cost for this pocketable flash make it a good option for use with your DP Merrill compact series cameras or any camera for that matter. If you need a more automated through the lens TTL flash option, then the only flash available right now is the </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Sigma EF-140 DG flash with a slightly higher price tag and minus the bounce feature, or put a full size Sigma EF 610 Standard or DG super Flash on top of the camera for use with the DP Merrill series compact cameras. Some of the other manufacturers make smaller TTL flashes for their respective brands, so you might have a compact solution</span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Do I recommend the Sigma EF-140 DG over the Metz 20 C-2 or vice versa? No--that depends on your needs. If you don't need to bounce your flash and want a small pocketable TTL flash, then the Sigma EF-140 DG is going to work better for you but at a premium. Want to bounce flash with a compact flash? The you might consider the Metz 20 C-2. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">I should mention there are more powerful manual </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">flashes with manual mounts for available from Metz and also a full size one from Vivitar, both coming in around the $89 range USD as well if you want to go the auto sensor on the flash route instead of the Sigma TTL options, but these full size flashes will look mammoth on the tiny DP Merrill series compact cameras (DP1M, DP2M or the newest offering, the DP3M). For compact pocketable simplicity stick with the Sigma EF-140 DG compact flash or the Metz 20 c-2 compact flash. Pick what will work best for you. The Sigma EF-140 DG being the simpler more sophisticated solution and the Metz requiring a little more user input for Auto flash mode but has the additional feature of enabling the use of bounce flash in your photography. Of course, you could own both. </span><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-zo95HhEThiA/UUNui9Xq6XI/AAAAAAAACac/Ur3VzX8O0Ms/s1600/DSC06686.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://2.bp.blogspot.com/-zo95HhEThiA/UUNui9Xq6XI/AAAAAAAACac/Ur3VzX8O0Ms/s640/DSC06686.jpg" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Metz 20 C-2 with bounce flash feature</td></tr>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: large;">Finally, how about the obligatory first Pet photos using this very interesting little flash on my DP2M direct without bounce just to give you a taste of the Metz 20 C-2? Buddy </span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">agreed to model for me on short notice---I accidentally knocked the shutter sync speed from 1/200th to 1/160th--whoops--but when shooting raw--the files are so forgiving, so i didn't reshoot as Buddy wanted to renegotiate his modeling contract and get paid with more dog food.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">F5.6 (RED) Auto mode, iso 100 at 1/160sec flash</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-dRpns6SDCfo/UUK9qSQ97aI/AAAAAAAACZ4/qD9c2ns8pJY/s1600/_SDI0590.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="http://1.bp.blogspot.com/-dRpns6SDCfo/UUK9qSQ97aI/AAAAAAAACZ4/qD9c2ns8pJY/s640/_SDI0590.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">F2.8 ( Green) Auto mode, iso 100 at 1/160th sec </td></tr>
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Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-2817515406525217141.post-21096107167723287432013-03-04T13:00:00.002-08:002013-09-16T07:27:51.092-07:00Long Term User Report for the Sigma DP2 Merrill<h2>
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A Traditional Compact Camera With A DSLR Hidden Inside.</span></h2>
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<span style="font-size: large;">After shooting with the Sigma DP2M for five months now, I've had the opportunity to use it in any shoot situations. I better understand the design decisions Sigma made with the DP2 Merrill series camera. Sigma wanted a camera with a simple design, simple easy to use controls, solidly built with one of the best lens/sensor marriages ever made. The price of a high quality lens alone at this caliber would cost the price of the DP2M! So let me be clear. The DP2M is a amazingly sharp camera but it is one thing to read about the specs of a camera and to snap a few images in order to write a review. The real test of a camera is to shoot with the camera over a long period of time--past the honeymoon period. Dpreview.com gets complaints that camera reviews aren't coming out fast enough--while other sites and magazines are popping out quick reviews left and right---there is wisdom in taking more time to shoot with a camera before you write about it. You will give a more accurate assessment and opinion that benefits readers not just your bottom line with advertisers.</span><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-dLSlTI-Tc9c/UTUKz325noI/AAAAAAAACYY/ayY87127iMQ/s1600/SDIM0305.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://2.bp.blogspot.com/-dLSlTI-Tc9c/UTUKz325noI/AAAAAAAACYY/ayY87127iMQ/s640/SDIM0305.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">DP3M F8-Classic Foveon Blue Colorspace in Sigma Photo Pro Software 5.5--from raw to same size .jpg</td></tr>
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<span style="font-size: large;">A LITTLE HISTORY:</span><br />
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<span style="font-size: large;">After the well known SD1 high price fiasco, I really had my doubts about Sigma's future as a camera manufacturer, but Sigma bounced back with the Sigma SD1M DSLR, a tribute to Dick Merrill the inventor of the foveon sensor and then astounded us by dropping this new chip into the DP1M and DP2M and married it with one of the sharpest 30mm f2.8 lens (45mm full frame camera equivalent) ever produced in a compact form that can fit into a coat pocket but here is the catch---it can produce images that rival images that are produced by cameras that cost $3300 dollars more---You'd have to purchase a Nikon D800 and put a thousand dollar lens on it to get the same results. If you want a giggle---watch this video by Chris Niccolis and Luminous Landscape's Nick Devlin in a Youtube video review from CameraStoreTv.<a href="http://youtu.be/f3VjyHQiqdE" target="_blank"> Camera Store TV's Review of the Sigma DP2M vs the Nikon D800E</a> It is a realistic appraisal of the DP2M with some sophomoric humor mixed in. However---you can save thousands of dollars and buy a Sigma SD1M and put the new generation Art lens-the 35 mm f1.4 lens on it and you'll have the sharpest Normal lens/camera combination in a DSLR form for around for $2800.00 and you are still ahead of the game. The much misaligned SD1M is a powerhouse camera and Sigma is upgrading its entire line of lenses which it will surely benefit the SD1M. Put an image stabilized lens from Sigma on it and you can handhold and shoot at much lower light levels just fine. The problem with the SD1M is that it has to compete with cameras that are packed with so many extra features and high iso performance that buyers balk at even its new lower $1899.00 price. However with the DP2M--you get the best lens ever and the best sensor ever in a small compact package and a the street price of $799.00 USD Now considering the high image quality possible with this camera--that is the deal of the century!</span><br />
<span style="font-size: large;">Somthing that bothers me is this grunge photography movement where you put crap plastic lenses on camera and shoot blurry, crappy images and call it art---Great! Thats cool with me if you want to shoot like that--there is a place for everyone in this big photography universe but the thought of a crappy cheap plastic lens on a camera makes me cringe. Why it defies the natural order of things!---</span><span style="font-size: large;"> thats not my style. I like crisp focal points in my images and with nice bokeh in the background. The DP2M can do that at f2.8. </span><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-V7r7OJ5iWpg/UTT35vI0u1I/AAAAAAAACYI/eOj0XivCQMA/s1600/_SDI0462.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-V7r7OJ5iWpg/UTT35vI0u1I/AAAAAAAACYI/eOj0XivCQMA/s320/_SDI0462.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">DP2M F2.8 impromptu photo of a friend</td></tr>
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<span style="font-size: large;">It is also the sharpest from corner to corner lens I've ever used. Flash?</span></div>
<span style="font-size: large;">Yes--you can put a smaller Sigma flash on the top of it and conquer even more with your little DP2M. Limitations? You set the limitations of what you want to do with this camera. Want to shoot a landscape at night? Use a tripod and longer exposure and shoot at iso 100. If it is really super dark---use iso 200. If I have a tripod---I will shoot in the iso 100 to 200 range for night landscapes. In a pinch--you can shoot up to iso 1600 handheld at night if you are pretty steady with your hands and you can use the Sigma photo pro software 5.5 to clean up the noise beautifully. Sigma photopro software 5.5 produces the best monochrome images from a digital camera that I remember---it takes monochrome black and white shooting with foveon sensored cameras to the next level.</span><br />
<span style="font-size: large;">Shoot with .jpegs only? Then buy a cheap point. I've never found a .jpeg worth using over the same raw image. Raw images allow you to tweak out image details, shadows that will make your images stand out from the herd of photographers out there. Just shoot on auto settings? Buy a point and shoot. </span><br />
<span style="font-size: large;">What are some things I think are missing on the DP2M? 5 frame bracketing-a feature found on the SD1M. Flash sync cable port. Shutter trigger cable. A bigger file buffer--be prepared to wait up to 15 seconds after shooting each image--these files are huge! You may have to buy more backup drives to store you images as well. Call me old fashioned, but I'd love a plug in EVF viewfinder as an accessory attachment that could be purchased and of course tethered shooting. The DP2M will frustrate amateurs who are used to having everything done for them and are in a rush to get that next image. Its not a fast camera. It does what it does fantastically---and that is creating super sized, high resolution images with extreme image detail. Add in the recent price drop to $799.00 USD and the DP2M becomes an even better buy. Happy Shooting!</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2817515406525217141.post-36835567678480405732013-03-03T21:02:00.001-08:002013-03-09T22:03:51.183-08:00DP2M images shot at iso 400-6400 handheld after sunset<h2>
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Yes You Can....Shoot with a DP2M over iso 100 and get good results.</span></h2>
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<span style="font-size: large;">Sometimes I'm astounded at the comments I read that reviewers make regarding cameras that they are testing. A number of online camera review websites and personal photography blogs have made some very tall claims about what the Sigma DP2M can't do. Thats a matter of perspective in my opinion. Compared to what? Images shot in the film days of grain? Or are we talking about today's super high ISO shooting cameras that turn anything above iso 1600 into mush with their in camera over processing? Let be real here. The only reason I can ever see to shoot higher than iso 1600 is if you absolutely have to get that image and the image is not going to be printed larger than 8x10.---Event photographers, photojournalist and paparazzi all can benefit from super high iso shooting. I understand this need. But video bloggers, professional reviewers and amateur reviewers making statements that the DP2M can't shoot decent images above iso 100 is doing a disservice to photographers who might truly benefit from shooting with this remarkable camera. So I provide you with actual proof that you can handhold and shoot with a DP2M at higher than ISO 100---even at night.</span></div>
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<span style="font-size: large;">I shot the images below right after sunset at 6:24 pm until the end of twilight which ended at 6:46pm. There was absolutely no way I could ever hand hold an image at iso 100 after sunset but I didn't have my tripod with me. I tried--thinking that maybe I just might be able to surprise myself--but physics like heart beats have a way of getting in the way of things. So I set the camera to iso400 F2.8 on Aperture priority and took these images, changing the iso up to iso up to 6400. Iso 1200 is missing in series of images.</span></div>
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<span style="font-size: large;">Conclusions? Color images processed in SPP5.5 looked decent up to iso 1600. Forget about shooting color images at above iso 1600 in super low light conditions. The sensor is just not capable of really pulling of capturing color images in dark conditions at above iso 1600 with acceptable results. Now if you want to shoot monochrome images at iso 3200 and iso 6400---by all means. You will get grainy looking images that remind me of Tri X film pushed to iso 1200 in the good old Black and white film days. Interestingly enough, Sigma has added some new goodies in the newest version of Sigma Photo Pro Software ( SPP5.5) that really takes creating monochrome images with the foveon sensor seriously up a notch! There is a banding removal tool and the ability to add film grain to the images--so if you are a film admirer like me who emulates films in his own work--its my way of seperating myself and the look of my images from the hoards of Canon and Nikon shooters out there--LOL, then you will love this new monochrome feature in the program. In the images below---I show you how you can salvage your Iso 3200 and Iso 6400 images by making them monochrome for a dramatic affect. I did not edit these images outside of SPP5.5 except to overlay the copyright mark using lightroom 4.0. In this scenario I didn't add film grain to them as there is plenty grain to go around at iso 3200 and iso 6400 already.</span></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-5-TRMLlIvW0/UTQalVjHy2I/AAAAAAAACXE/CnkGLbwZvgM/s1600/_SDI0478iso400.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="425" src="http://4.bp.blogspot.com/-5-TRMLlIvW0/UTQalVjHy2I/AAAAAAAACXE/CnkGLbwZvgM/s640/_SDI0478iso400.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">ISO 400 F2.8</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">ISO 800 F2.8</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">ISO 800 F2.8 BW</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">ISO 1600 F2.8</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">ISO 1600 F2.8</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">ISO 3200 F2.8</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-3LBCIiaCzZU/UTQbxddO6JI/AAAAAAAACXk/SjZtvpVYWLs/s1600/_SDI0487iso3200BW.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://2.bp.blogspot.com/-3LBCIiaCzZU/UTQbxddO6JI/AAAAAAAACXk/SjZtvpVYWLs/s640/_SDI0487iso3200BW.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">ISO 3200 F2.8 BW</td></tr>
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<span style="font-size: large;">So looking at the images it makes me wonder what Sigma is thinking in providing ISO 6400, but Sigma keeps improving on the Sigma Photo Pro Software in its ability to process the raw files and Sigma continues to release firmware updates, I wouldn't rule out firmware or software improvements in the future that further improves the quality of the images in the ISO 3200 to ISO 6400 range in the post processing of raw images. If you want to be artsy--do an images which benefits from a very grainy black and white look--then the higher ISOs will work. Realistically with the F2.8 lens, I found it difficult to handhold and shoot--but thanks to the new grip that I added by Richard Franiec ( See my other blog) I was able to hold the camera with more stability to squeeze out a pretty decent iso 400 shot. Sadly, I notice in my samples that the ISO 800 sample has a little shake blurring---Sorry! I still included it the samples so you could see how it handled overall. So in answer to the claim that the Sigma DP2M can't shoot decent images at anything higher than iso 100? </span></div>
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<span style="font-size: large;">ABSOLUTE SILLY NONSENSE. Now would I routinely shoot at anything about iso 400 with a DP2M? No. I would only shoot above IS0 1600 if I was stuck somewhere without my high ISO performing camera. Yes--you can own more than one camera boys and girls..... I can't imagine this one camera fits all mentality. Its like the communist camera revolution--the collective herd mentality that I've been pointing out for years brainwashing everyone into buying into this one camera does all nonsense. How boring that would be. I've never subscribed to this mentality and pick the camera that I want for the job that I want to do. I understand if you need to buy a camera that does it all and shoot well at high ISO etc. The only one close to the DP2M in image quality is the Sony RX1--so get your wallets out and spend $2000 more dollars and be happy! But you will not find a camera/sensor combination that provides this level of image quality and sharpness across the frame this size. It doesn't exist in the USD street price range of $799.00 If you can settle for a more expensive camera with serious vinetting at the edges of the lens and blurring--then the Sony RX1 is the camera that will provide you with excellent high ISO performance--great for a photojournalist etc or someone with very deep pockets.</span></div>
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<span style="font-size: large;">Now please don't complain about how grainy the images are at iso 400---I actually turned down the noise slider for luminescence as I prefer a grainy look to my images as it reminds me of film. Thats my preference. I'd rather have more detail and some grain than have this mush that is being promoted in the photography world--talking about how wonderful high ISO images are. My opinion? I've NEVER seen an image shot at higher than iso 3200 that was worth praise. I would shoot images at ISO 3200 with my Canon 5D MK II for press work that were acceptable-but that is a full frame sensored camera and I was never satisfied with the results even though those images were used in magazines regardless of my low opinion of them. Light photons don't have to pass through three layers of silicon in a bayer sensor like the foveon sensor. One trick that Bayer sensor cameras do is shoot a black frame and remove the noise from the image that shows in the black frame. I'm a little unclear how that technology works but I believe that is one of the secrets with the Bayer sensors. With the foveon sensor you are talking about 48 megapixels of information to sort out and process into a raw file--a huge amount of information to process at one time. I suspect in order to implement the same approach that Canon, Sony and Nikon and the rest already do in camera, that Sigma would probably have at a total of 4 true II computer chips---Like the quad core chips used in our computers. The full sized .tiffs from these images same size at 16 bits saved from raw (46 MB sized files in the case of iso 400) saved as huge 86MB, so all the detractors out there that are claiming that the Merrill chip is only producing a 15MP sized images are just not grasping the fact that the foveon sensor is collecting more pixel information than a comparable sized bayer sensor. More informaton per pixel is recorded which results in huge bloated same sized files at 16 bits. Look at these images at 100 percent. You can see details shot with this 45mm equivalent lens in 35mm speak from 2.5 miles away in the Miami Skyline that are not visible until you look at the image at 200 percent! My question is this--how much more detail do we need here? The only way to improve the foveon is to increase the size of the real estate of the sensor--make it full frame. Hopefully I'll be around when that happens because I want to try shooting with that behemoth! :) Those who constantly slam the foveon sensor with claims that it can't be handheld and shot at anything above iso 100 are full of silly nonsense. One last thought however, if you ever want to know how I shoot the amazing night images with a foveon sensored camera?---Use a tripod and longer exposure times.</span><br />
<span style="font-size: large;">This tiny DP2M is a powerhouse camera in a compact package with one of the sharpest lenses I've ever shot with. Whats not to like about it? If you are willing to deal with how slow it is to process images and the limits of its useful ISO range to really no more than ISO 1600 and maybe 3200 and 6400 if you can deal with grainy black and white images--then this camera can work nicely and cover lots of stuff. One thing that so many people seem to forget about the DPM series of cameras is that you can use a flash on top of the camera too! Sigma makes a very nice smaller flash that works very nicely with the camera so in my mind as I'm and expert in flash photographer for press work etc---I don't see too many limits with it. There are plenty of tiny manual flashes out there like the one by Metz that can be used with the DP2M as well. Plus the new firmware update allows you to flash sync at 1/125th with all of the DP Merrill compacts as well. In my 35mm film days I was thankful if I could push my black and white film to above iso 1200 and capture something useable and I was shooting basketball games with a manual focus camera, power winder and very fast 50mm f1.4 lens, sitting right on the sidelines! It was very exciting. Shooting with the DP2M is a cakewalk compared to what photography was years ago and best of all---the price has dropped! Meaning that I"m now seriously thinking about getting a DP1M. Why? I'm tired of lugging heavy cameras around and don't see a problem with shooting with a compact camera that can easily produce crisp images up to 24x36 inches. Happy Shooting my friends! </span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2817515406525217141.post-56968335834577640762013-03-01T22:29:00.000-08:002013-03-04T10:05:20.212-08:00GET A GRIP ON THE SIGMA DP1M,DP2M &DP3M!<div>
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<a href="http://www.sigma-dp.com/DP2Merrill/" target="_blank"><span style="color: red;">To learn more about the revolutionsary DP2M--click here.</span></a></div>
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<span style="background-color: black; color: white; font-size: x-large;">Richard Franiec's Custom Grip for the Sigma DP1/ DP2 and DP3 Merrill Compact Cameras</span></h2>
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<span style="background-color: black; color: white; font-size: 12px;"><i>( Above- the Sigma DP2M without the Grip)</i></span></h2>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">When my Sigma DP2M arrived, I marveled at its compact design, but I have medium sized hands with very long fingers, so the tiny 46 MP camera feels like it is going to slip out of my hand when I'm shooting. Holding the camera with one hand and pressing the trigger is definitely out of the question as the flat front surface of the camera is smooth and slippery even with the small raised dots on the metal. In looking for an add on grip to address my shooting concerns, I decided that I wanted to find a grip that met this criteria: </span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">1. It couldn't look like an add on grip--it must look like it is part of the camera design.</span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">4. It needed to be precision made and high quality so it could withstand years of use and match the existing camera finish.</span></div>
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<span style="background-color: black; color: white; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">There are plenty of add on plastic grips that can be put on the DP2M, repurposed from other brands like Olympus cameras that would work and some custom screw onto the bottom of the camera grips that add considerable weight and bulk to the camera not to mention cost.</span><br />
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<span style="font-size: large;"><span style="background-color: black; color: white; font-family: Tahoma, Helvetica, sans-serif;">Enter Richard Franiec's custom designed DP1/ DP2 and DP3 Merrill grip. It meets all the criteria I was looking for. At only 35 grams, each grip is individually CNC machined from a solid block of 6061 aluminum which explains the light weight with an anodized paint which matches the color of the DP2M and looks as though it was always a part of the DP2M design which is brilliant. The grip </span><span style="background-color: black; color: white; font-family: Tahoma, Helvetica, sans-serif;">attaches easily to the camera and can be removed later without damaging the finish of the camera in addition to being reattached using the 3M adhesive tape on the back. It does however cover the beautiful Sigma name on the DP2M and DP1M---a small sacrifice to be made for such a comfortable grip---but it does make shooting with the camera more anonymous which some photographers like. </span><span style="background-color: black; color: white; font-family: Tahoma, Helvetica, sans-serif;">Richard in correspondence with me said that the grip is confirmed to fit the new DP3M to be released this month by Sigma as the new DP3M has the exact body as its Merrill brothers. Also to update the information from the press release posted on the new grip in November, Richard updated the sealing process from a sealing of the anodized aluminum with the use of Nickel to a hot distilled water process to address possible allergenic concerns with Nickel even though the particular process that he originally used has never been proven to cause contact allergy problems as it seals the aluminum under the anodized paint--so the user would never be exposed to nickel in the first place. The old process is used throughout the commercial and consumer products to seal aluminum and has never been proven to cause allergenic reactions--but Richard is was concerned about a perceived problem--so he decided to use a different method which is just as effective in the manufacturing process that doesn't involve nickel.</span><span style="color: white; font-family: Tahoma, Helvetica, sans-serif;"> </span></span></div>
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<span style="background-color: black; color: white; font-size: large;">Once I attached the DP2M custom grip to my DP2M and held it, shot a few shots with it, I knew that it is the missing design element for the DP2M and makes shooting with the DP2M more stable and fits the shape of my hand perfectly. </span><br />
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<span style="background-color: black; color: white; font-size: large;">It is a beautifully designed grip. I marvel at the high tolerance fit and finish and feel of this add on grip. It looks and feels as though it is part of the DP2M's body--not a cheap plastic or heavy, bulky screw on grip and the price is right at $36.95 USD plus $3.95 first class mail shipping cost. I have a feeling this grip will never be coming off of my DP2M. Stay tuned for a long term user's report and video on the new grip in the next month. </span><br />
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<a href="http://www.kleptography.com/rf/#camera_dp1m" target="_blank"><span style="color: red; font-size: large;">Click to Order</span></a></div>
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