Leica R9 User Manual

LEICA FOTOGRAFIE INTERNATIONAL

SPECIAL

LFI

LEICA FOTOGRAFIE INTERNATIONAL

D

19088

SPECIAL: DIGITAL-MODUL-R

F

D EUR 8,00 NL EUR 9,30 B 9,30 L EUR 9,30

4 194043 108000 09

DIGITAL

MODUL R

EDITORIAL

DEAR READERS

In this special edition on the Digital-Modul-R
we present to you, in addition to an abundance
of information on Leica’s professional digital
system, the related digital work of several
prominent photographers. In asking them what
their impression was of the Digital-Modul-R
the answers we received were at times quite
astonishing. Our thinking was that most would be
drawing upon digital photography for sideline
projects, never actually believing that it could
facilitate expression just as effectively as with
the time-honoured medium of film.

It turns out that the majority have become
completely engrossed in digital photography.
Occasionally, it sounded as though they were
beginning to remember film as an old friend to
whom they had only little contact. French
photographer Bernard Richebé, for instance,
whose black and white work is featured starting
page 36, experienced digital technology as a
liberating kick, providing his creativity with new
impulses. German photographer Uwe Dürigen,
who at first had to be talked into giving the Digital­Modul-R a try, is now so convinced by its quality
that he goes as far as to travel with a battery
charging emergency generator.

Now and again a sceptic will express how
digital pictures lack soul. But hand to heart:
both film and sensor are technical procedures
for image making, and technology itself does not
have a soul. Should one ascribe this quality to
film, then perhaps it refers to the aura that arises
due to the fact that our collective memory was
largely moulded by film. In the end, however,
it’s really up to the photographer, whose skill
ultimately defines the character of a picture.
In this sense, enjoy the read!

THE EDITORS

CONTENT

The Digital-Modul-R turns
the R9 into a professional
digital camera with brilliant
photo quality

DIETER BLUM

Flying legs, flowing fabrics and the Digital-Modul-R –
photographer Dieter Blum stages movement in aesthetic imagery

R SYSTEM DIGITAL

The Digital-Modul-R turns Leica’s R system into a flexible solution
for those wanting to photograph both traditionally and digitally

UWE DÜRIGEN

The photojournalist shows inspiring pictures from a trip to India
and explains what he loves about the digital R

R LENSES

The lenses are at the heart of the Leica R system, regardless of
whether one uses them with film or the Digital-Modul-R

GARY FAYE

Immediate results and more time for experimentation: the American
landscape photographer is thrilled by the Digital-Modul-R

THE RAW WORKFLOW

After exposure, the sensor data has to be formed into a
presentable picture. We explain how it is done

BERNARD RICHEBÉ

The face of the suburbs – the Parisian photographer interprets it
in black and white and demonstrates his approach

IN THE STUDIO

The cover shot was of course taken with the Digital-Modul-R.
We show in great detail how the picture was prepared for print

4

6

16

22

26

28

36

42

Schwalfenberg, Hair/Makeup:

Cover photo: Joerg

Martin Schmid/Optics,

Model: Flavia Lang/

Modelwerk; special thanks

to Briese Studios, Hamburg

TANGIBLE PICTURES

With a bit of preparatory work, photo printers and exposure
services can deliver high quality pictures on paper

JAMES VAN LEUVEN

Of large landscapes and small animals – the Dutch photographer
captures the wonders of nature in fascinating images

IMPRINT

DMR/2006 LFI 3

48

52

58

TECHNOLOGY R SYSTEM

THE DIGITAL-MODUL-R

With the Digital-Modul-R, Leica now enables owners of
an R8 or R9 the unique possibility to convert their
35-mm camera into a high-performance digital solution.
Here an in-depth appraisal.

BY HOLGER SPARR

Leica’s entry into the market of
professional digital cameras may have
taken longer than hoped for, but the
reason for this was quite simply that the
Solms-based company felt that an active
involvement in this market segment
would only make sense once analogue
and digital were capable of generating
the same, super-quality results. Leica
customers expect the R system to deliver
nothing else than supreme photo quality
whether with film or chip.

In the area of 35 millimetre, Leica has
in fact accomplished a singular solution:
the Leica R9, which normally operates
with film, and its R8 predecessor,
which has an almost identical body, can
now be equipped with a digital back,
transforming the analogue into a digital

camera by means of a simple manoeuvre.
The only difference between this digital
camera and its analogue counterpart is
that it registers the exposures via a
10-megapixel CCD sensor, storing them
on an SD memory card instead of on film.
In terms of size and weight, the digital R9
is no different from the analogue version
mounted with an optional Motor-Drive-R
for automatic film transport.

In order for the Digital-Modul-R to
be completed, Leica teamed up with
two distinguished partners: Kodak is
considered one of the most experienced
developers of first-class image sensors,
equipping the vast majority of digital
backs for medium format cameras.
One of the most famous developers of
such back units, in turn, is Imacon

DMR/2006 LFI 7

TECHNOLOGY R SYSTEM

from Denmark. They now belong to
Hasselblad and were originally in
charge of the conceptualisation of the
module. Together, the three companies
planned and developed the Digital­Modul-R, taking on the by no means
trivial task of converting the R9 into
a fully-fledged expert digital camera,
without depriving the camera of its
ability to work with film. It is this choice
between film and chip that makes the R9
with the Digital-Modul-R such a unique
concept. Depending on application and
need, the owner of this double-action
system can always choose whether to
insert a 35-mm round or a memory
chip. That the digital picture quality will

satisfy the demands of the professional
world is guaranteed thanks to a 10­megapixel resolution, a high input
dynamic range and an accurate colour
recognition; and that the concept is
beginning to bear fruit becomes evident
when we study the respective field
reports or what Leica considers the
favourable increase in demand.

R-SYSTEM BASE

From a formal point of view, the Digital­Modul-R is an accessory item for Leica’s
R8 and R9 and thus an element of the
wide-ranging R system. Leica’s single
lens reflex system can look back
upon a long tradition, scoring high marks
in all areas of photo technology with
highest precision and quality, unrivalled
longevity and simple and intuitive
handling. An excellent example for these
virtues is the core piece of the system,
the R9. In spite of its comprehensive
features and options, the camera prides
itself on its minimum number of control
elements. The photographer is thus

never faced with mysteries. Behind the
unassuming details, however, one will
discover great finesse and technology.
Take the camera’s viewfinder, for
instance, which is known to be one
of the brightest in 35-mm photography:
it enables eyeglass wearers to see
effortlessly into its corners, featuring
dioptre correction and a curtain shutter
against stray light; and the matt screens
are also interchangeable.

Countless other details – such as a
mirror pre-release against shake,
the classic synchronised flash socket
for studio light systems, the multiple
metering system, which can be
influenced in steps of tenths, and
much more – are the result of the
fact that the R9 was constructed in
consideration of people who would be
working with the camera on a daily basis.
As part of the comprehensive accessory
programme we find the Motor-Winder-R
and the slightly larger Motor-Drive-R,
facilitating up to 4.5 exposures per
second. The slightly unusual form
of the camera is very ergonomic;

8 LFI DMR/2006

The R9 is built from high-tech material
such as magnesium for the body. Most of
the assembly process is done by hand,
which, through constant control over the
working steps, secures higher quality

all control elements are situated in
the right place and the camera rests
securely in one’s hands. The greatest
plus of the R system and surely the
main reason for its excellent reputation
is the vast array of lenses, which like
the camera itself are handmade. See
the article on page 22 on Leica R lenses,
of which more than a few are known to
be absolute top of the class.

BASIC SET-UP

The Digital-Modul-R consists of two
basic components. The digital back itself
replaces the standard back with film
pressure plate; it contains the CCD
sensor, the main electronics and the slot
for the SD memory card. A power supply
unit is connected from below and
contains the lithium ion battery as
well as the motor, which is also required
in digital operation; it clamps the
shutter, which, incidentally, can be
disengaged temporarily with the quick­release lever. The camera with digital
back is practically as heavy and large
as the camera with motor drive.
The delivery package also contains a
viewfinder matt screen, showing the
limited picture area of the image sensor
within a corresponding frame, and
other accessories, such as a charger, a
bag for the back unit, a memory card
and software.

Apart from the matt screen, the
R8 or R9 requires no modification
or re-equipping for digital operation.
Fortunately, Leica had already included
all of the important electronics for the
communication with the digital back
during the development of the R8 in
1996, and this is what made the whole
thing possible in the first place. The only
inconvenience that owners of an R8 have
to accept is that the R8 cannot tell the
digital module when to switch off. Thus
it has its own power button.

With attached Digital-Modul-R,
the R9 is practically as large as with the
Motor-Drive-R. The protruding monitor
of the digital back unit does not obstruct
the view through the viewfinder

TRANSFORMATION

For the initial installation of the Digital­Modul-R the viewfinder matt screen
is traded for the supplied version with
the additional frame indicating the
digital sensor’s view angle. Included in
the delivery is a matt screen with a
split image and micro prism ring, but

The R9 gets by with very few,
conveniently placed, control elements.
The rather unusual form of the
camera guarantees smooth operation

Leica now also offer the various matt
screens with the respective sensor frame
(except the clear glass screen). In 35-mm
mode, those who can accept the
then superfluous frame can and should
leave the matt screen installed in the
camera. After all, the changing of
screens is the most time consuming
aspect of the conversion.

DMR/2006 LFI 9

TECHNOLOGY R SYSTEM

Once the film back unit and battery
box of the R9 have been removed, the
conversion into a digital camera is a
matter of seconds: first, the digital back
is hinged onto the camera, then the
protective cap of the sensor is removed,
the back is shut closed and finally
the power supply unit with the battery
and motor is inserted from below

Using the supplied tool, one then
loosens the latch of the film back and
installs the digital back in its place.
The sensor comes with a protective cap.
It should only be removed just before
closing the back to prevent dust from
getting onto the sensor. Just like the
motor drive, the next step would
be to remove the battery component and
connect the power supply unit. Once
the memory card and the battery have
been inserted, the digital Leica R is
ready to shoot. Re-equipping the camera
for film would then simply happen the
other way around. With practice, the

10 LFI DMR /2006

whole manoeuvre takes no more than
30 seconds, quick enough to make a
second camera body for a switch-over
to film unnecessary.

INNER VALUES

At the heart of the digital camera system
we have the image sensor, which was
developed by Kodak following Leica’s
specifications. The key condition, to
force the sensor into the unaltered,
24-by-26-mm film window of the R8 or
R9, required the development of a new
sensor concept. Since the chip had to

contain the connecting wires and a few
circuits, the light-sensitive area measures
only 26.4 by 17.6 millimetres; in other
words, the sensor is forced to produce a
crop enlargement of the 35 mm picture.
In digital operation, the lens focal length
is consequently multiplied by a 1.37
factor (rule of thumb: one third more) to
attain the same view angle as one would
attain with film.

What is rarely seen is that the
enlarged crop section does change the
perspective, but not the lens’s depth-of­field range. If, in digital operation, one
wants to reach the same depth of field as

OF PILGRIMS
AND SAINTS

PHOTOS: UWE DÜRIGEN

Soft light, fairytale colours and magical atmospheres –
Varanasi of India, also known as the City of Light,
is so holy that it brings accelerated salvation to those
who live and die there. Uwe Dürigen used his
Leica and Digital-Modul-R to capture the seductive
imagery of a spiritual, Hindu reality.

PORTFOLIO UWE DÜRIGEN

Holy cow amid the traffic. Elmarit-R 19 mm
f/2.8, f/16, 1/15 sec, ISO 100

Varanasi, one of the oldest cities in India,
is situated in the north of the country at
the bank of the River Ganges in Uttar
Pradesh. It is home to over a million and
is known as the holiest city in Hinduism.
Spiritual seekers have been attracted to
Varanasi for more than 2500 years:
bathing in the Ganges is said to purify
from sin, and those who die there will
find salvation by being cremated and
having their ashes cast into the river.

In December 2005, Uwe Dürigen
travelled to India to document religious
life in Varanasi. With a mindfulness
and sensitivity for unexpected details
and insights, the photographer from
Ettlingen, Germany, was able to produce
a series of mystical exposures. A

transcendental light gently caresses his
well composed photographs, taking us
deep into the ritualistic lifestyle of
Varanasi.

Predominantly active in Asia, 38-year­old photographer Dürigen focuses on
social, cultural and political issues. His
intention is to deliver authentic insight:
“I use my camera to accompany a
situation, not to stage one. I also feel that
reportage photography is not an exact
reflection of reality. The photographer
is already interpreting a situation with
the mere choice of perspective and lens.”
The German photojournalist produced
his reportage on Varanasi using Leica’s
Digital-Modul-R. LFI sat with him as he
talked about his experiences.

FAY

PORTFOLIO UWE DÜRIGEN

Right: Plunging into the river. Pilgrims
use the sacred water for prayer and
leisure. Elmarit-R 19 mm f/2.8, f/4,

1/750 sec, ISO 200

Above: Sideshwa explains the ritual of
smoking hashish. For the Sadhus, this drug
brings direct contact with the gods.
According to legend the Hindu God Shiva
smoked a whole mountain of hashish.

Apo-Summicron-R 90 mm f/2 Asph;

left: f/5.6, 1/125 sec, ISO 100;
middle: f/4.8, 1/125 sec, ISO 100;
right: f/2.8, 1/2000 sec, ISO 200

Left: Sadhu ‘Kailash Muni’ has vowed to
years of silence. Summilux-R 80 mm f/1.4,

f/2, 1/180 sec, ISO 200

LFI: Mr Dürigen, at what point and for
what reason did you start working with
the Digital-Modul-R?
Uwe Dürigen: I bought my DMR in the
summer of 2005. Before then, I’d already
been borrowing a digital camera system
for specific assignments. What I soon
took for granted was the speed and the
immediate control over the results; but
what the competing products seemed to
lack was the brilliance and sharpness
of Leica cameras and lenses. Here, the
Digital-Modul-R offered superior quality.
My first project already took me to what
was probably the most remote area
of Mongolia, the Altai Mountains, where
I used the Digital-Modul-R to document
the Kazakh Nomads and their ancient
tradition of hunting with golden eagles
for magazines ‘Terra’ and ‘LFI’.
LFI: In what way has your photographic
approach changed since you’ve started
working with the Digital-Modul-R?

20 LFI DMR /2006

TECHNOLOGY R LENSES IN DIGITAL OPERATION

FACTOR 1.37

One of the key arguments in favour of the Digital-Modul-R is that you
can benefit from the potential of R lenses – ranging from 15 to 800 millimetre
focal lengths – both in analogue and digital use. 35-mm photographers
will simply have to befriend themselves with a slightly altered perspective.

Maximum system compatibility has
always been a founding virtue of Leica –
to this day, owners of an R3 can still use
Leica’s most recent R lenses, and an
R8 or R9 remains companionable with
almost all lenses throughout the past
40 years of Leica’s SLR history. Even the
ones featuring the Leicaflex metering
cams can be reinforced with a ROM
module. Since photokina 1998, this is
what has been enabling today’s R lenses
to electronically transfer parameters,
such as aperture, focal length and
vignetting, to the camera.

Even during the inception of the
Digital-Modul-R concept, this general
idea played a central role. For Leica R
photographers who already own an R8
or R9 and an array of lenses, the Digital-

Super-Elmarit-R 15 mm f/2.8 Asph: expensive
luxury for friends of extreme perspectives

Modul-R would appear to be a logical
next move, if an entry into high-end
digital photography is on the cards.
Those to whom the Digital-Modul-R
marks the occasion to enter into the
Leica R system not only have the
prospect of an unrivalled camera concept
with outstanding ergonomics, technology
and handling, but also – and above all –
one of the best optical systems in the
world for 35-mm photography.

KEYWORD: 35-MM FORMAT

Leica, of all brands, as the pioneer of
35-mm photography, is now, with the
digitalisation of the R system, being
unfaithful toward this format. At least
this is what critics never cease to slate.
For reasons mentioned on page 6, the

Vario-Elmar-R 21–35 mm f/3.5–4 Asph:
compact and better than the fixed focal lengths

sensor is slightly smaller than 35 mm
film – while the latter has a diagonal
of 43.3 millimetres, the sensor of the
Digital-Modul-R has a 31.7-mm diagonal;
and when one alters the format of the
exposure medium, the behaviour of the
lenses changes accordingly. Those who
as 35-mm photographers occasionally
stray into medium format will know how
confusing the whole thing can be. A lens
that was built for the image circle of a
6-by-7 system has, with a 100-mm focal
length, a view angle of approximately
48 degrees, which more or less equals a
50 mm lens in 35-mm lingo. Yet the
reorientation with the Digital-Modul-R
is not so severe. One can even claim that
the related crop factor is fairly moderate,
resulting from the division of the

22 LFI DMR /2006

PHOTOS: JOERG SCHWALFENBERG
HAIR/MAKEUP: MARTIN SCHMID/OPTICS
MODEL: FLAVIA LANG/MODELWERK
THANKS TO BRIESE STUDIOS, HAMBURG

CREATING THE COVER PHOTO TECHNOLOGY

Photographer Joerg Schwalfenberg from
Hamburg, Germany, not only specialises
in the field of portrait and people but has
also been working with the Digital­Modul-R since its market inception –
this was ideal for our objective,
as we wanted a cover photo that
would demonstrate the potential of the
Digital-Modul-R in a professional studio
environment. The urgency with which
the photographs were required did
little to faze the photographer. This is
simply what Schwalfenberg does, day
in and day out. The photo model,
Flavia Lang, was hired at once and the
studio and lighting equipment rented
from Briese, a Hamburg-based company.
Joerg Schwalfenberg first opted for a
set-up consisting of one main light and
several bright-ening panels. Later, he
drew on a ring flash to help brighten up
the shadowy areas.

The advantages of digital photo
technology were of course implemented
from the start. This demanded a
PowerBook and a calibrated monitor in
the studio set-up. The LFI art direction
had provided the photographer with
a wealth of ideas and draft layouts,
enabling the team to assess the exposures
in an eventual publishing context.
Thanks to a mobile phone and the
PowerBook’s network port, the art
director even took the liberty to

be in Berlin on the day of the shoot.
This was no problem: samples were
sent back and forth, there was room
for spontaneous ideas to be developed
and old ones to be discarded. In an
analogue photo session, in which interim
results can only be seen in Polaroid,
this degree of flexibility would have
been out of the question. The continuous
and immediate verification of the
material – on location – was immensely
helpful when it came to optimising
lighting, styling and make-up.

THE PROJECT

A glamour shot, such as our cover
photograph, not only demands extra
care on behalf of the make-up artist
and great accuracy on behalf of
the lighting, it also requires extensive
digital manipulation: every strand of
the model’s hair, every vein and pore
have to be retouched.

Here one cannot help but feel a little
sorry for the model, who herself was
already very beautiful. We wanted
therefore to keep the amount of
retouching to a minimum and avoid
robbing the model of her individuality. In
spite of the many preparatory efforts –
where the stylists paid extra attention to
every single hair – there was plenty of
opportunity for digital post production.

A single main light illuminated the
face perfectly with the help of a few
brightening panels and a ring flash.
The exposures were frequently evaluated
on the computer screen

DMR/2006 LFI 45

Several hours of retouching were
necessary before the picture looked
spotless. Eyes and hairs received extra
attention. Leica R8, Digital-Modul-R,

Macro-Elmarit-R 60 mm f/2.8,
1/125 sec., aperture 11, ISO 100

Before manipulation

46 LFI DMR /2006

FIRST IMPRESSION

Joerg Schwalfenberg likes to view and
evaluate his mate-rial in Adobe Bridge.
He uses Adobe Camera Raw to calibrate
the gradation, colour and contrast of
his pictures and to transform them
from Raw into Tif format. Then the
pictures are imported into and retouched
in Photoshop with 16 bits per colour
channel. For optimum results, the
pictures must only be sharpened at the
very end of the imaging process. In our
case it was performed by the Alphabeta
repro service, where the pictures

Perfecting colour: in addition
to exposure and gradation, the colour
saturation is best adjusted in Adobe
Camera Raw. Here, red and green were
reduced with their respective sliders
to generate a cooler mood