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Guest noah_addis

Which DSLR produces files most like the M8?

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What about the 1Ds at 11 megapixel?

Is the MKII much better or does the 1Ds has a look closer to the m8?

 

The 1Ds noise levels are closer to those of the M8 than are the noise levels of the later 1Ds cameras. But again, aside from the DMR, the FF Canons and Nikons with very, very good lenses are likely going to be the ticket.

 

I haven't worked with the Fujis or the Sonys yet so I don't know about them.

 

Cheers,

 

Sean

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I'm curious to hear from other M8 shooters which DSLR they have used that looks most like the M8, excluding the DMR. (I'm sure it's great, but I'd prefer to stick to a camera from one of the bigger companies that is cheaper).

 

As far as I know no other major company is making a DSLR that uses a CCD. Everyone seems to have gone to CMOS. They all use AA filters and most don't capture more than 14bit. Only a few cameras come to mind, like early Nikon's 1Dx, Canon EOS-1D bodies. The DMR is probably the most modern and best performing CCD powered DSLR out there. And of course the Epson RD-1. 6MP CCD and it takes Leica glass. But of course it's an RF, not a DSLR.

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The obvious choice is a Leica DMR R9 combination. A good price for used or new for the quality of the files and a similar look to the M8. A great selection of Leitz lenses,CCD sensor and ten megapixel sensor as in the M8.

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Totally agree. You can shoot at ISO 4000 easily. And without all the adjustments, updates, and grief of the M8. Of course, not the cachet of a Leica. I prefer the film M's and the Nikon D700 over the M8.

 

 

 

it's easy:

 

D700

 

best user interface

best flash/lighting system

best bayonett - lenses from a variety of makers AF/MF

best formfactor of the body - better than 5D

better lenses, especially wide angle and

better low light capability of the sensor/software system

investments in lenses is value-keeping

 

Bernd

 

PS: low light D300:

 

Flickr Photo Download: Fishermen's shack

 

ISO 3200 lens 17-55 Nikkor

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I've always disliked the harsh Nikon look, the Canon is ok but very dreamy.

Both of these look very "mechanical" and/or "industrial" compared to the M8.

 

But sometimes you see good images taken with either cam.

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The 1Ds noise levels are closer to those of the M8 than are the noise levels of the later 1Ds cameras. But again, aside from the DMR, the FF Canons and Nikons with very, very good lenses are likely going to be the ticket.

 

I haven't worked with the Fujis or the Sonys yet so I don't know about them.

 

Cheers,

 

Sean

 

been shooting with the 5dii and the leica r 100 macro for the past week...lens is spectacular and so is the 5dii...the difference that i see is more detail and clarity over the m8 though not by all that much (which i guess is due mostly to the 21 mp)...

 

mike

mikecettadotcom

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Mike, just looked at your site and especially your streets of New York folder.

 

Very, very impressive work......quite the technique you've developed!!

 

The images are so 3 dimensional, with really interesting colour and lighting......I like it very much.

 

David K.

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Totally agree. You can shoot at ISO 4000 easily. And without all the adjustments, updates, and grief of the M8. Of course, not the cachet of a Leica. I prefer the film M's and the Nikon D700 over the M8.

 

Yeah, the D700 is one heck of a camera in every respect. IQ, ergonomics, speed. The accuracy of the metering, which is astonishingly good. The camera is difficult to fault. If it had two more stops of total range I would be tempted to stop shooting film...

 

One of the biggest advantages of the Nikon bodies is the ability to use manual focus lenses. Being able to properly scale focus is almost a must for street photography. This is something that is difficult or impossible to do with AF lenses. You can also get very different looks depending on the vintage of your lens. The glow from the older Nikkors, really helps take the digital curse off the files.

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Totally agree. You can shoot at ISO 4000 easily. And without all the adjustments, updates, and grief of the M8. Of course, not the cachet of a Leica. I prefer the film M's and the Nikon D700 over the M8.

 

No, you don't get the cachet with the D700 nor the Leica look, mores the pity, and that's what the thread is about.

 

The D3 / D700 are excellent cameras, no doubt about it, and I love my D3. But I like the colour and detail coming from the DMR and M8 better.

 

So for high ISO and tele work I use the Nikons; for wide to normal prime work it's the Leicas. Different tools for different parts of the job.

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Yeah, the D700 is one heck of a camera in every respect. IQ, ergonomics, speed. The accuracy of the metering, which is astonishingly good. The camera is difficult to fault. If it had two more stops of total range I would be tempted to stop shooting film...

 

One of the biggest advantages of the Nikon bodies is the ability to use manual focus lenses. Being able to properly scale focus is almost a must for street photography. This is something that is difficult or impossible to do with AF lenses. You can also get very different looks depending on the vintage of your lens. The glow from the older Nikkors, really helps take the digital curse off the files.

 

Hi Thrid,

 

That is true, and I've stressed it myself but an interesting new option is using the Zeiss ZE MF lenses with Canons.

 

Cheers,

 

Sean

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Guest guy_mancuso

Hmmm interesting question . Bottom line been here and done that is the DMR will closely match the M8. Basically the same sensor and same glass. The DMR is slightly better though. To really match the M8 after the DMR would be to go MF since your still dealing with a Kodak CCD sensor and No AA filter and you can still get the look and frankly is the best choice but obviously a expensive one and the DR and tonal range will be much better. Just for accuracy i shoot Professionally and owned the DMR and M8' and now shoot MF with essentially the same Kodak sensor. I did not fall to far from the tree when i went MF. Now lets be really blunt Canon and Nikon are very nice camera's for there intended needs but no way do they look anything like a DMR or M8 file when it comes to look, again I owned most of them too. Now having said all that , I have been intrigued by the new Sony A900 and mostly because of it's look and feel ala DMR / M8. With the Zeiss glass it is really looking very nice and may get one but i have been looking at there files and i am impressed by the look of them. Obviously not a high ISO camera and ISO 800 looks very nice and 1600 looks okay. BTW processing them in C1 is about a stop better in noise than LR and to be honest almost every camera is including the M8 and DMR. The best you can get is the DMR no question it is essentially the same and the files will be hard to tell apart from the M8 but the A900 might be something to look at. Now there is NO canon or Nikon that will have that CCD look so may want to look elsewhere unless your screaming for high ISO stuff. The Zeiss glass does look good on the Nikons and i had that for awhile but your still not going to get the M8 look unless your very proficient at raw processing and camera calibration but you will still come up short in micro detail and DR. The absolute best choice is MF but that is whole different ballpark. Now let me qualify here is nothing wrong with Canon or Nikon and many Pro's shoot them for commerce and they do very well in the market and there systems are the biggest options around and available on almost every street corner. The files are nice and with good processing you can get excellent results but if your after a certain look in the file like the M8 than you have to look at stuff that is relatively the same in regards to the sensor which almost all Kodak sensors look the same via Hassy , Phase One, DMR and the M8 all share that same technology and basic Kodak sensor design.

 

Oh and the S2 will also since that comes from Kodak. For the record in MF there is Kodak and there is Dalsa those are the two CCD sensors and NO CMOS in MF except for one old one. 35mm there is CMOS coming from Canon which builds there own, Nikon buy's from Sony and I think maybe one or two more like Phillips or Mitsubishi . Someone can correct me on that one

 

 

BTW Happy New Years folks, I don't travel in here very often these days but nice to see some old faces here (names). Let's hope for a great 09

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Guest noah_addis

Thanks for all of the input, I appreciated it all and it gave me lots to think about.

 

I went to B&H this morning and tried out all of the cameras to get a feel for them, since that's a big deal for me. I had already seen reviews and samples online.

 

I ordered a D700, a 180/2.8AF and a Zeiss 28/2.

 

It was a pretty easy decision, the viewfinder is what sold me most of all, it's bigger than the crop-sensor cameras and very bright and easy to focus manually. The camera felt like a digital version of the f100, which was my favorite SLR in my film days.

 

The 180 is my favorite tele, I had one but sold it when my paper went digital. So that was a no-brainer. And the Zeiss 28/2 handled beautifully. It seems to be built well of metal and the focusing action is perfect, not too tight or too loose.

 

I think it'll be a good combo with my M8, I'll mostly use it with the 180 when I need a long lens but will also be a good backup with the 28/2 and will be useful if I need to shoot in lower light than the M8 can handle.

 

My only fear now is that I'll use it more than my M8s

.

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Thanks for all of the input, I appreciated it all and it gave me lots to think about.

 

I went to B&H this morning and tried out all of the cameras to get a feel for them, since that's a big deal for me. I had already seen reviews and samples online.

 

I ordered a D700, a 180/2.8AF and a Zeiss 28/2.

 

It was a pretty easy decision, the viewfinder is what sold me most of all, it's bigger than the crop-sensor cameras and very bright and easy to focus manually. The camera felt like a digital version of the f100, which was my favorite SLR in my film days.

 

The 180 is my favorite tele, I had one but sold it when my paper went digital. So that was a no-brainer. And the Zeiss 28/2 handled beautifully. It seems to be built well of metal and the focusing action is perfect, not too tight or too loose.

 

I think it'll be a good combo with my M8, I'll mostly use it with the 180 when I need a long lens but will also be a good backup with the 28/2 and will be useful if I need to shoot in lower light than the M8 can handle.

 

My only fear now is that I'll use it more than my M8s

.

 

By reading what you have written I guess that image quality match was not a part of your decision?

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...

 

I ordered a D700, a 180/2.8AF and a Zeiss 28/2.

 

....

 

My only fear now is that I'll use it more than my M8s

.

 

I can relate to this fear. I have a similar set up of Zeiss primes (18, 25, 35, 50) and carry a 180/2.8 AIS for a very portable non-AF travel/landscape outfit. Kind of my DSLR alternative between my M8's and D3 with the Nikon AF zooms. It's very easy to get sucked into the ergonomics and low light performance of the D700 with that glass.

 

I'll bet that you'll add to the Zeiss collection soon

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Thanks for all of the input, I appreciated it all and it gave me lots to think about.

 

I went to B&H this morning and tried out all of the cameras to get a feel for them, since that's a big deal for me. I had already seen reviews and samples online.

 

I ordered a D700

 

That was a great choice. Enjoy.

 

Cheers,

 

Sean

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Guest noah_addis
By reading what you have written I guess that image quality match was not a part of your decision?

 

Well, it seems like nothing is a great match with the M8 other than the DMR, and while I'm sure it's great, it's too big for my taste and still a bit pricey.

 

The other cameras that might be a closer match are older and some at least are simply not up to current standards. I strongly considered the D200, which is what I wanted from the start, but in the end it was the great larger viewfinder on the D700 and possibility for low-light work that sold me.

 

Another issue I didn't mention earlier is that in my line of work it's nice to use a common brand of camera. My fellow journalists and documentary shooters are generally a friendly bunch, so if I'm working on a story overseas and my lens or battery charger breaks, I can borrow one from a friend if he or she has a spare. This would be tougher with some of the smaller brands.

 

I also bought an old manual focus 300/2.8 for $500 from a guy at the paper, and assuming I like the camera I'll probably add a zeiss 50mm and probably a Nikon 85/1.4AF, unless someone convinces me the zeiss is better..

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