Leica R9 and DMR - a user's report

June 2006 (other articles)

Beautiful files; Broken camera

I've been lucky enough to have access to a Leica R9, the Leica/Imacon digital back to fit it, and a 100mm Macro Elmarit lens. I'm not buying into the whole Leica R system, so this isn't the beginning of an extensive report. In fact this article is shorter and earlier than I had intended because the camera is broken. Leica UK can't fix it, so it is going to Germany. The quoted turn around time is "normally about 5 weeks", but as this will take us into the middle of the holiday season, I'm imagining two months might be more like it.

I'd shot about 400 frames when the camera failed. I was just beginning to get a feel for the machine and the resulting files. I don't claim to be an expert in the camera's strengths and weaknesses, and I certainly haven't conducted much formal testing, however 400 frames of experience is 400 frames of experience. And the fact that the camera failed is, itself, a non-trivial piece of information.

For those not in the know about Leica terminology:

- the R9 is their current SLR, originally released as a 35mm film camera, but designed with digital in mind
- DMR stands for 'Digital Module R', a digital back that clips onto the camera in place of the film back
- the 100mm Macro Elmarit is their very well regarded f2.8 close focussing lens.

This isn't a studio shot. In a studio, LCD or laptop screen focussing works well, perhaps even better, but outdoors a traditional viewfinder and a focussing screen designed for manual focussing is still best.

I am interested in this camera because there is a certain type of photography that I do for which is it excellently suited. That is tripod based close focus (sub macro) work outside of the controlled conditions of a studio. That's why the lens that I was using was the Macro Elmarit. Much of what follows needs to be read with this in mind. I wasn't testing the focus speed on super long lenses, or the all day carryability of the body.
 

The Highs

- the viewfinder: if you have only used small frame digital SLRs or, even worse, electronic viewfinder cameras, then you are in for a real treat looking through this viewfinder. It is bright and clear (even when limited by an f2.8 lens), and relaxing to work with.

- the focussing screen: a similar message. If you have only ever used autofocus SLRs then this screen is a joy to use. It follows the 1980s format of a split central prism surrounded by a ring of microprisms. Using either it is remarkably easy to tell whether the subject is in focus or not

- the frame: because the viewfinder was designed for 35mm film but the DMR chip is smaller, you get an internal frameline on the focussing screen which shows you the picture area. This means that you can see what is immediately outside the picture area with ease. Composition becomes a much more fluid event.

- mirror lock-up: this is really how it should be on all cameras. A switch (not a button) on the camera takes you from normal to mirror lock-up mode. In mirror lock-up mode you have to fire the camera twice to take a picture (using any of the shutter triggers or cable releases). The first trip puts the mirror up. The second takes the exposure. This means you have complete control over how long the mirror is up, and you can decide exactly when you want the exposure taken.

- the files: no anti-aliasing filter means that these files pop. If your photography doesn't generate moire effects very often then you are missing something by using a dSLR with an anti-aliasing filter. Really, you are. (I didn't have an opportunity to test the software Moire reduction).

- the lens: superlative. Other people have written about this lens so I'll only give an impression here. Fantastic. As you can get adapters for both Canon and Olympus cameras you should consider this lens if you do much close focus work.

- precision: one of the risks of removable digital backs is that the alignment of the sensor plane is critical. I did a number of the standard photograph-of-a-ruler tests and the chip was in alignment.

- dust/cleaning: you can open the back for access to the chip. Cleaning couldn't be easier.

- battery charger: the charger came with a 12v car adapter.

- other more minor stuff: the shutter speed dial is large and easy to use; aperture selection is still from a ring on the lens; the depth of field preview lever is well designed; and the customer service people did answer the phone.

This photo has been called essence of flower bed. The framing and focussing tools in the R9/DMR made it easy to make.

The Lows

- failure: the camera failed. The DMR seems to be OK, but the camera became completely unresponsive to all input.

- exposure meter: all photos in all metering patterns are over exposed. Sometimes this is marginal, but sometimes the over exposure is gross (more than three stops). I was going to find out whether the meter is supposed to work with the digital back or not (I could see that if the meter was reading off the film plane that the different reflectivity of the chip would cause problems), but the camera failure took away the point.

- highlight flashing: the over exposure problem is made worse by the fact that the over-exposure warning on the LCD is pessimistic. There is around a half stop more available on the histogram, as shown by a raw converter, than the LCD suggests.

- the exposure compensation control: hopeless. Instead of a dial with numbers on you get a lever. This means that you have to paddle your way up and down the scale with each push representing a half stop. This is slow, and anyway only works when the meter has been activated. So, shoot, review and paddle. Nothing happens. You have to shoot, review, take a new meter reading and then paddle.

- condition on arrival: the dealer swore that the kit hadn't been out of the box, but there was a finger print on the rear lens element and on the glass cover of the chip. Not impressed. (The dealer blamed the Leica final inspection personnel, but who knows).

- body design: without the DMR the body is a chunky outfit and one I would find uncomfortable to carry. The grip is too large for my hands by some considerable margin. Add the DMR and you have one very large camera. Hand held shooting would be possible, but......

- DMR protrusion: the DMR sticks out at the back. This means that the viewfinder is recessed. Human faces need camera viewfinders to sit proud of the body, not to be hidden in a cave.

- integration: considering Leica had control of all aspects of the design there is surprisingly little integration between body and back. For example, the frame counter on the camera does not follow the frame counter on the back.

- SD cards: I know that SD cards are the current thing, but they are small, fiddly, easy to lose and have exposed contacts. Bring back CF cards.

- menu structure: not brilliant. In particular I found it irksome that the 'format card' command was so far down.

- other more minor stuff: the battery charger is enormous; the LCD review screen is on the small side; spare batteries are very expensive; spare batteries don't come with covers for the electrical contacts; and the famous Leica passport warranty doesn't apply to the DMR.

The Macro Elmarit is also an excellent light telephoto (135mm equivalent with the DMR).

Conclusion

What can I say? What a frustrating experience. Beautiful files; broken camera. Curate's egg controls and general design. Fantastic lens.