Interior Photography: R8/DMR lens options?

[troyfreund]

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Hey Folks,

As an occasional "interiors" photographer, I'm wondering about options for my R8/DMR. I have the first generation 19mm, which becomes about a 26mm on the DMR, and sometimes that's just not wide enough. The only other Leica option is the 15mm and even used there's no way I can afford it. Being that the R-system has been discontinued, there's no hope for a DMR-specific wide-angle lens. So, my question for you is this--is there a way to get wider than 19m on a DMR with a non-Leica lens? Thanks for your suggestions.

Troy

[Jeff S]

I don't own the R/DMR, but I do recall Sean Reid's older review, where he covered use of the 15 and 19 f2.8 lenses...both great (sorry). He didn't talk about ability to get any wider ...but he did briefly mention possible use of the Leica 19 (or 15) on FF DSLRs, e.g., high end Canon, to get there. FWIW.

 

Jeff

[rsolomon]

Troy, you imply you need a digital solution - perhaps its time to take the DMR back off the camera and put the film back on for this shoot - if you remember

[Sandokan]

What about stitching multiple shots together?

[Overgaard]

Whenever I do interior, I use the 19/2.8.

 

I think it depends a lot on your self, not on the lens. I've never had anybody telling me I needed from corner to corner of a room, so I've always been able to compose a shot so it looks pleasant, has a good atmosphere and represents the architecture. Hence, I most often use 35-70/2.8 for this and then have the 19/2.8 for wider shots and the 80/1.4 for real cosy atmosphere.

 

The very good thing about the DMR is the capability to create silence peace, simplicity and wonderful tones to the shot.

[topoxforddoc]

Troy,

 

I bought a Tamron 17/2.8 SP with the leica R adaptall mount before I found a 19 elmarit at a reasonable price - IQ wise some way off the 19 elmarit, but those 2 extra mm make a difference. My copy cost me GBP35, but I doubt you'd get one at that money now.

 

Charlie

[masjah]

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Hey Folks,

As an occasional "interiors" photographer, I'm wondering about options for my R8/DMR. I have the first generation 19mm, which becomes about a 26mm on the DMR, and sometimes that's just not wide enough. The only other Leica option is the 15mm and even used there's no way I can afford it. Being that the R-system has been discontinued, there's no hope for a DMR-specific wide-angle lens. So, my question for you is this--is there a way to get wider than 19m on a DMR with a non-Leica lens? Thanks for your suggestions.

Troy

 

Troy

 

For some static interior shots, you may be able to employ a 28/2.8 PC Super Angulon shift lens, depending on whether or not, and to what degree, your "wideness" requirement is selective. You can think of its scope as enabling you to take a selective crop and enlargement from the inage of a real ultrawide. I did once do the calculations to see what focal length conventional lens would be needed to be able to do this equivalent "cropping and enlargement" - I think it came to about 14.6mm one way, and 17.3mm the other. But it has to be stressed that it does not give you the full image of a real ultrawide unless shifts in the four main directions were to be stitched together. Hope this is clear, and that it helps!

[troyfreund]

Thanks for all the input, folks. I really was looking for a straight-up wide-angle lens option, for the DMR. Seems like the only routes are a multiple-$K 15mm or the Tamron 17mm. I'd forgotten about that Tamron. Thanks again for the feedback!

[Jeff S]

Troy, your post reminds me that the David Hurn quote below your signature seems to leave out "framing" as a critical factor beyond timing and position. You can be in the right place at the right time, but what's in the frame is what matters.

 

Jeff

[troyfreund]

Troy, your post reminds me that the David Hurn quote below your signature seems to leave out "framing" as a critical factor beyond timing and position. You can be in the right place at the right time, but what's in the frame is what matters.

Jeff

 

Hey Jeff,

Re: the Hurn quote, I imagine that to him, what was in the frame was obvious in its importance, and was controlled by viewpoint and timing. What he, I think, was speaking specifically to, was "camera controls" like shutter speed, aperture and the like. Often people get bound up in thinking that technical aspects are the most important contributor to image success, where Hurn suggests it's being in the right place at the right time (both of which determine what is in the frame).

T

[Jeff S]

Hey Jeff,

Re: the Hurn quote, I imagine that to him, what was in the frame was obvious in its importance, and was controlled by viewpoint and timing. What he, I think, was speaking specifically to, was "camera controls" like shutter speed, aperture and the like. Often people get bound up in thinking that technical aspects are the most important contributor to image success, where Hurn suggests it's being in the right place at the right time (both of which determine what is in the frame).

T

 

Thanks, I understand your thought, and probably what he meant to imply. But, I guess I disagree, since what I'm talking about is between the ears of the photographer, i.e., deciding how to frame the image after establishing your position. That involves but goes beyond choice of lens or any camera controls. Put two photographers, hypothetically speaking, in the exact same place at the same time, and the picture in the frame will likely be different, even if all technical factors remain equal. It's what made Atget and others great.

 

 

I've seen Hurn's quote before, and it's always bothered me. I would have said "position, framing, and timing." Anyway, my two cents...probably not even worth that in this economy. Thanks for responding, Troy.

 

Jeff

[giordano]

I've seen Hurn's quote before, and it's always bothered me. I would have said "position, framing, and timing." Anyway, my two cents...probably not even worth that in this economy.

 

I've always seen Hurn's quote as similar to the old press photographer's "f/8 and be there": if you're not in the right place at the right time you won't be able to frame the shot.

 

I don't presume to speak for Hurn, but the old pressman with his 4x5 Speed Graphic or MPP framed his images generously so the picture editor or layout sub could crop them for the page.