Leica DIGILUX 2 User Guide
Center for Digital Imaging
Leica Digilux 2 Field Guide
A practical guide to the
Leica DIGILUX 2 camera.
• How your camera works
• Configuring your computer
• Digital imaging basics
• Printing your images
• Working with raw files
• Creative techniques
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Copyright for all text and images used in this work are retained by Scott Geffert ©2004 (unless other wise marked)
All rights reserved. No part of this book shall be reproduced, stored in a retr ieval system, or transmitted by any means, electronic, mechanical, photocopying, recording or
otherwise without the written permission of the author. No patent liability is assumed with respect to the use of information contained herein. Although every precaution has
been taken in the preparation of this book, the publisher and author assume no responsibility for errors or omissions, nor is any liability assumed for damages resulting from
the use of the information contained herein.
Trademarks
All terms mentioned in this book that are known to be trademarks or ser vice mark s have been appropriately indicated. Center for Digital Imaging may not attest to the
accuracy of this information. Use of a term in this book should not be regarded as affecting the validity of any trademark or ser vice mark. Adobe®, the Adobe® logo, and
Photoshop™ are registered trademarks of Adobe® Systems Incorporated. Apple®, the Apple® logo ColorSync™, FireWire™, AppleScript™ are registered trademarks of Apple®
Computer Inc. Leica, DIGILUX 2 and the Leica logo are registered trademarks of the Leica Camera. Microsoft, and Windows are registered trademarks of Microsoft Corp.
Warning and Disclaimer
Every effort has been made to make this book as complete and as accurate as possible, but no warranty or fitness is implied. The information provided is on an “as is” basis.
The author and the publisher shall have neither the liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained in this book.
For Instructors
We have created this guide as a tool to assist people with the learning curve associated w ith making the transition to digital imaging. While the book is primarily focused
on the Leica Digilux 2, many of the computer and third-party components are useful for any digital workflow. If you would like to reproduce this book in whole or in part for
classroom use, contact Scott Geffert at Center for Digital Imaging Inc., P.O. Box 4495, Grand Central Station, NY 10163 or via e-mail: scott@cdiny.com.
Center for Digital Imaging Inc. also offers customized training and presentations for schools, cultural institutions, and corporations.
Special Thanks to:
The staff at Leica Camera USA
Jeff Hirsch and the staff of Fotocare
Robert Kim Photography
Tiffany Hodges
James Troost
Ryan and Saw yer Geffert
Peter Geffert
Mom & Dad
My Wife Rita
All images in this book were created using the Digilux 2 camera.
Introduction The LEICA DIGILUX 2 represents an important juncture
in digital photography. To date, most digital camera
manufacturers have attempted to make photography
easier by removing traditional photographic controls,
and replacing them with simplified fully automatic
“point and shoot” controls. While an argument may be
made that this was a step in the right direction, something important was lost in the process.
The ability to manually alter the basic photographic
parameters increases the chances of creating a technically imperfect image, but also gives the photographer
full creative control. The Digilux 2 gives the photographer the ability to explore the powerful mix of traditional photographic techniques and digital imaging.
This guide has been created to help photographers
explore the wide range of creative controls available
using the Digilux 2. While the camera manual clearly
describes the camera functions, we have structured
this guide based on the various photographic situations
you may encounter, and the camera controls that will
help you accomplish the desired effect. In addition, we
will introduce you to some tried and true methods for
working with your digital files on the Apple® Macintosh™
computer platform using popular output devices and
software applications.
While this guide will not replace years of experience
in digital imaging, it will help you get the most out of
your Digilux 2 purchase.
We hope you enjoy using this guide,
Scott Geffert
President, Center for Digital Imaging Inc.
Table of Contents:
Chapter One
Getting to Know Your Digilux 2 Camera
How your camera works ...................................6
Raw data format ............................................7
Camera capture parameters ..............................7
Analog controls .............................................7
Digital controls ..............................................7
Capture and playback/review ............................8
Automatic Settings
Automatic focus .............................................8
Program auto exposure ....................................8
Aperture Priority auto exposure ......................... 8
Shutter Priority auto exposure ...........................8
Color Balance ................................................8
Manual Settings
Manual focus ................................................9
Manual exposure ............................................9
Custom white balance .....................................9
EV exposure compensation ...............................9
Flash EV exposure compensation ........................9
Chapter Two
Configuring Your Computer
The Digilux 2 and your Macintosh™ .................... 11
Connecting the camera for direct downloading ..... 11
Disconnecting the camera after direct
downloading ............................................... 12
Working with an external card reader
or PCMCIA adaptor ....................................... 12
Working with raw images ................................ 13
Downlodaing raw files to your computer ............. 13
Chapter Three
Digital Imaging Basics
Bit Depth ................................................... 15
Color Space ................................................ 15
Histograms and Levels dialogs .......................... 15
Exposure ................................................... 16
Color Balance .............................................. 16
ICC color calibration ..................................... 17
ICC workflow model ...................................... 17
Calibrating your display ................................. 18
Defining your working space ............................ 18
Evaluating your digital images .......................... 18
Editing suggestions (Adobe® Photoshop™ CS) ....... 19
Archival printing using an Epson® 2200 Pr inter ..... 20
Chapter Four
Working With Raw Image Files
Software tools for editing your raw images .......... 23
Editing images using Adobe® Camera Raw™ ......... 23
Editing images using SilverFast DC ..................... 26
Chapter Five
Creative Techniques
Night / Low Light Photography ......................... 34
Sports Photography ...................................... 36
Portraiture Tips ........................................... 37
Studio Lighting ............................................ 38
Backlighting ................................................ 39
Backlighting in Manual Mode ............................ 41
Chapter Six
Common Photographic Problems ....................... 43
Chapter One
Getting to Know Your Digilux 2 Camera
Getting to Know Your Leica Digilux 2 Camera
How your camera works
Before we begin to explore the features and operation
of the Digilux 2 camera, it is best to understand the underlying process of how the camera creates, interprets
and stores digital images. Very few digital photographers take the time to consider the process of capture
and therefore place too much emphasis on post-capture editing on the computer. In this brief overview
you will quickly learn that a high quality digital image
starts in camera, not in your computer. Once you familiarize yourself with the camera functions, you will be
amazed at the quality that may be achieved with little
or no editing on your computer.
The Digilux 2 is equipped with a 5.0 Mega pixel sensor.
1900X2560 individual CCD sensor elements are arranged in an area array. At its most simplistic level of
function, the individual sensor elements may be compared to individual analog light meters. Light passing
through the lens energizes individual sensor elements
which create analog voltage signals. These signals are
translated to digital values via an integrated A/D converter using a linear transformation at 12bits per pixel.
This means that each individual sensor element signal
may translate to any of 4096 individual tonal values
from light to dark per color channel.
Color information is gathered at capture via a matrix
of primary color filters on the surface of the sensor.
This color information is applied to the or iginal capture
data via a complex algorithm that interpolates color information and assigns color values to each pixel. While
digital cameras are generally compared by how many
pixels are on the sensor, very few digital photographers
realize that the real quality lies in optical design, and
the quality of software engineering applied to the raw
sensor data.
When shooting in any of the three JPEG file format
modes, the captured data is temporarily stored in an
internal memor y buffer as the color matrix data is
processed internally.
When you perform a custom white balance, image
sharpening, or other in camera image adjustments;
the sensor data is altered as the cameras internal color
LUT is remapped to the sRGB color definition, and JPEG
data compression occurs. Once the image processing
occurs, the data is written to the removable media and
the internal memory buffer is cleared for the next exposure. This entire process takes place in the moments
after you take a picture.
When shooting in JPEG mode your in-camera processing
choices directly affect your final image quality and are
irreversible. JPEG compressed image files may deliver
excellent results with careful attention at capture.
The downside of the JPEG format is that in-camera
mistakes in exposure and color balance that require
editing on the computer may quickly degrade the
ultimate image quality.
When capturing images in the raw file format, sensor
data and other descriptive information is saved in a
high bit-depth TIFF file format with no compression.
One would think that with no processing overhead, this
would actually be a faster process, but the fact is that
the data is written directly to the memory card from
the camera memory buffer. Essentially your camera is
copying a 12MB TIFF file to your storage medium. This
lag time is the same as if you copy a raw file to your
desktop computer from the storage medium.
Raw data format
The benefit of capturing raw data is simply that you
may compose and capture images, and rest assured
that you will be able to reinterpret the data w ith little
or no loss of quality. Capturing in the raw format mode
of any digital camera is similar to shooting color negative film as opposed to color transparency film. Color
negatives may be pr inted interpreted in many ways, as
transparency film is more literal and is less forgiving
in terms of exposure. As the raw format does not lend
itself to everyday capture situations, we prefer to use
the feature when shooting in more challenging situations such as night shots, and studio still life images
where absolute quality is required.
Note: The Digilux 2 may be easily switched between
the two file format modes, so we suggest that you
should always begin in JPEG mode, and use the image
review features, to arrive at the ideal capture settings.
Once you have arrived at the best settings, simply
switch to raw mode and create your final raw image.
Camera capture parameters
The Digilux 2 has a wide array of capture parameters.
We have broken these down into two categor ies:
analog and digital.
Analog settings directly affect the raw image data and
thus are critical to high quality imaging.
Digital parameters come into play primarily for files
captured in the JPEG modes as the decisions you make
at capture are permanently processed into the resulting files.
Analog controls
Analog controls are the same controls that one would
use for traditional photography. These controls are
critical to both raw and JPEG file format capture.
Shutter Speed (Manual or Automatic)
Aperture (Manual or Automatic)
Focus (Manual or Automatic)
Flash (Five modes)
Digital controls
Digital Controls are unique to digital photography. Used
properly, the various parameters may make or break
the success of a digital capture in the JPEG mode.
White Balance
Contrast Settings
Manual Color Temperature
File Compression
Black & White or Color Mode
Sharpening
Saturation
Keep in mind that when shooting in JPEG file format
all of the digital controls of your camera permanently
alter the captured image data.
While you may edit images on your computer, even
minor adjustments to color, density, and image size will
quickly degrade the final image quality.
When shooting in JPEG mode we strongly recommend
that you review your images using the cameras display
for exposure and color.
Capture and playback/review
You may switch between capture and playback modes
using the selector on the rear of the camera, or you
may temporarily jump into a quick preview mode by
using the quick selector button. This feature is very
useful when you are trying to confirm focus of other
camera settings.
Automatic Settings
Automatic focus
If you wish to set the camera to auto focus mode,
rotate the focus ring to the AF or AF-Macro setting. The
focus ring has a locking button to ensure that the focus
mode is not inadvertently changed when shooting. The
AF mode provides rapid focussing from 60 cm to infinity.
The AF-Macro setting provides auto focus across the
camera’s entire focus range from 30 cm to infinity.
Program automatic exposure
Setting the aperture and shutter controls to the “A”
position enables the automatic exposure mode. The
Aperture ring has a locking button to ensure that the
mode is not inadvertently changed when shooting. The
camera will find the best combination of aperture and
shutter speeds based on the metering mode selected.
(see metering modes)
Aperture Priority automatic exposure
If you would like control of focus depth of field by
forcing a fixed aperture, select the aperture you wish
to use, and the Digilux 2 will find the correct shutter
speed based on the metering mode selected. (see
metering modes)
Shutter Priority automatic exposure
If you would like to experiment with the effects of motion in your scenes set the aperture ring to the “A” position and select the desired shutter speed. The Digilux
2 will find the correct aperture based on the metering
mode selected (see metering modes). In low light, various shutter speeds may be combined with the camera’s
flash modes for a wide range of in-camera effects.
Color Balance
When in automatic mode, the color temperature of the
light falling on the camera’s white balance sensor is
constantly measured until the moment your shutter is
released. If you shoot under mixed lighting conditions,
the color balance may be set to one of five color temperature presets. These color presets may be manually
adjusted to fine tune the color response. Additionally,
you may choose to set a custom white balance. (see
performing a custom white balance)
Manual Settings
Manual focus
Manual focus is one of the joys of using the Digilux 2
camera. Simply turn the focus ring past the automatic
lock, and you are free to focus from any distance from
two feet to infi nity. To assist with manual focus the
Digilux 2 is equipped with a digital focus magnifi er.
This unique feature may be enabled under the camera’s
setup menu. When the focus magnifi er is enabled, each
time you move the focus collar on the lens, you will
be presented with a real-time window showing your
image detail in the center of the frame. As soon as you
touch the shutter button, the frame is returned to the
full view.
Manual exposure
Setting BOTH the aperture and shutter dials on a
setting other than “A” places the camera in Manual
mode. When using the manual controls, you may use
the camera’s meter and histogram to evaluate the
exposure.
Note: If you are creating still life images, or copy work
under fi xed lighting conditions, you may use an 18%
grey card to assist in fi nding the optimum exposure
setting. If you photograph an 18% grey card and fi ll
the frame, adjust the aper ture or shutter speed (or
both) to a point where the image histogram peak falls
midway between highlight and shadow, or you may use
the light balance meter on the camera display.
Custom white balance
If you use an 18% grey card
to set your exposure under
controlled lighting situations,
you may choose the custom
white balance setting to allow
the camera to automatically
conform color balance to
your specifi c lighting. When
you select the custom white
balance mode, you will be
prompted to take a picture.
When this exposure is made,
the camera adjusts the color
values to be equal for red
green and blue channels resulting in a neutral white
point. This balance setting will be held for subsequent
image captures, until the process is performed again,
or until the batter y is removed.
EV exposure compensation
When automatic exposures are thrown off by predominant light or dark areas in relation to your subject the
EV compensation control is the best way to compensate. Pressing the EV compensation button on the back
of the camera will bring up an on-screen window. Turning the control dial adjusts the exposure bias lighter or
darker in 1/3 stop increments.
Flash exposure compensation
When working with the built-in fl ash in the direct or
bounce position, you may vary the output of the fl ash
unit to match your ambient light exposure level. The
menu is accessed by pressing on the EV button three
times. (The selection w ill toggle through the three
menus options of EV adjustment, bracketing and fl ash
EV adjustment). When the fl ash EV adjustment is
selected, you may use the control dial to bias the fl ash
exposure in 1/3 stop increments.
Chapter Two
Configuring Your Computer
Confi guring Your Computer
This guide has been created specifi cally for use with
the Apple® Macintosh™ computer running MAC OS10.3
(Panther). Apple® computer has played an important
role in the photographic community as the operating
system is tightly integrated with the hardware itself.
This integration allows us to focus on common settings
that may be applied across many models. While options
specifi ed in this section may translate to the PC platform, keep in mind that each PC computer is shipped
with a dizzying array of software tools, display cards,
and drivers that make it diffi cult to defi ne compatibility within the scope of this guide.
The Digilux 2 and your Macintosh™
When working with the Macintosh™ computer and the
Digilux 2 less is more! This means that as long as your
are using the latest version of the M AC OS (currently
version 10.3) you do not need to install any driver
software to download or view images.
The iPhoto™ software application that
comes bundled with every Macintosh™
computer is a wonderful tool for working with your digital images, and may
serve as your “home base” for your
collection of digital images.
iPhoto™ is easy to use, and is well documented so you
may take the steps in our guide, and build upon this
basic information at your own pace. iPhoto™ does not
currently recognize the Digilux 2 raw format image
fi les, but we explain how to work with raw fi les later in
this section.
You will need the following items to connect to your
computer:
•The USB to camera cable (supplied)
Note: You may also use a third-party
USB or Firewire External SD card
reader. Laptop users may choose to
use a SD to PCMCIA adapter.
Connecting your Digilux 2 for direct downloading
•Set the Digilux 2 to Playback Mode
•Confi rm that the Digilux is in the “Mass Storage” or
“PTP” USB Mode. This parameter may be found on the
second page of the playback setup menu options.
•Open the cover on the left side of
the camera to expose the USB port,
and insert the cable to your camera,
and an available USB por t on your
computer.
•In a few moments, the Macintosh™
will recognize the camera, and will automatically
launch the iPhoto™ application.
Note: The fi rst time
you launch iPhoto™
by a direct camera
connection, the
operating system
will ask you if you
wish to use iPhoto™
when connecting your
camera.
We suggest that you click the “Use iPhoto™” button.
You may always change this preference down the road.
•Once iPhoto™ launches, you will notice an “Import”
button on the lower right of the iPhoto™ window.
Clicking this button w ill begin importing all of the
images from your camera to the computer. By default,
the software is set to leave the images on your card
untouched. If you click the option to “erase camera
contents after transfer”, the images will be deleted
from your camera upon successful download.
•iPhoto™ will present a confirmation dialog giving you a
second opportunity to delete the original images from
the camera card. Choose Delete Originals.
•Once the downloading process is complete, your
images will be shown in a contact sheet view, and all
iPhoto™ functions will be available.
•During the download process, all of the transferred
images are placed in the following default location on
your host computer:
Macintosh™ HD:Users:(Your)Home Folder:Pictures:
iPhoto™Library. Within the iPhoto™ Library your images
are parsed into folders based on the capture date.
Note: As iPhoto™ only recognizes the JPEG format
Digilux 2 images, any raw files will be skipped and w ill
not be deleted from your card. The following dialog
will verify the skipped files.
Disconnecting your Digilux 2 after downloading
When you plugged your camera into the Macintosh™,
the computer recognized the camera as a “Mass Storage Device”. You may have noticed a generic drive icon
appear on your desktop called “NO NA ME” during the
connection process. As with all removable media, you
need to properly remove the device to avoid possible
data corruption.
If you accidentally or improperly remove your camera
or media from the computer you will be presented with
the following dialog:
To properly remove the device from the desktop you
may click on the “NO NAME” drive icon, and drag it
over the trash can icon on the dock. The word “EJECT”
will appear as you drag the icon over the trash-can
icon. You may also remove the camera by double
clicking on the “NO NAME” Drive Icon, and clicking the
eject button next to the device in the Finder window.
Working with an external card reader or PCMCIA SD
card adaptor
The Mac OS and iPhoto™ will recognize the inserted
media, and will operate exactly as if you connected
to the camera via the USB cable. When you wish to
remove the media from the card reader or PC MCIA slot
follow the same process as disconnecting the camera
for ejecting removable media.
Working with raw image files
We have mentioned the benefits of capturing raw image files throughout this book. As raw image files do
not automatically download to your computer when you
connect the camera we have outlined a process you
could follow to manage your collection of images.
Downloading raw files to your computer:
When set to raw file format mode, your Digilux 2
captures a raw file as well as a JPEG file with the same
name and a different extension. This is useful because
iPhoto™ (and most other image browsers) will not be
able to create a thumbnail of the raw file. Since the
import process automatically moves all of the JPEG images to your computer, and may delete them from your
card as part of the process, your card will be left with
just the remaining raw files
As we mentioned in the instructions for downloading
images in the prev ious section, Apple®’s iPhoto™ will
present the following warning dialog when it encounters the unreadable raw format image files.
We suggest that you create a new folder in your Pictures folder called raw Images.
Whenever you see the “Unreadable Files” dialog you
should MANUALLY copy any raw files from your card to
this folder. By using this method, you w ill be able to
quickly access your raw image files for editing.
To make accessing your raw files easier, you may drag
the raw file folder to the right portion of your dock.
This way you will not have to dig through folders on
your hard drive to see your image files.
Note:
You may also wish to create a third folder for edited
images in your pictures folder for images derived from
your raw files. This folder may also be placed in your
dock for easy access. You could call this folder “Finals”
or some other meaningful name.
Chapter Three
Digital Imaging Basics
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