Since we've been mooting the idea that the R-D 1 and G1 work well together as a way of sharing a set of M-mount lenses, I thought I'd post a few examples from a workout I gave the "combo concept" this weekend.
(Eventually, once I've done final edits etc., the photos will get turned into Soundslide shows for the sponsoring organizations' websites... but I know some of you prefer to flip at your own pace, so these are simple Lightroom shows.)
And a couple of G1-image detail views for you pixel-peepin' papas and mamas (you know who you are!)
Herewith, the executive summary:
You M8 owners don't need to be as interested in the idea of supplementing your RF camera with a G1, since your cameras have finder frames for longer lenses, and a long enough RF base to focus most of them accurately (although I think even yours might be challenged by, say, a 100mm f/2 Canon at close distances.)
But as some of you know from earlier in the thread, I've been pursuing the idea that a G1 plus M-mount adapter might be a good supplement to an Epson R-D 1, sort of a modern version of sticking a reflex housing on your RF camera. (The G1 probably isn't any larger than a typical reflex housing and most likely is lighter in weight!)
Anyway, Friday night and Saturday I had the chance to shoot documentary stuff of these two dance master classes, both in the same space and under nearly the same conditions. I learned a lot of interesting little things this way, such as:
-- My original worst-case-scenario workout with the G1 had left me worrying that its high-ISO performance might not be up to snuff in terms of noise. Now I think it's not so much strictly a performance issue as that the G1 simply does not tolerate underexposure at all. I hadn't learned this when I did the DanceBrazil photos, many of which have marginally crummy-looking dark areas, but for the Mia McSwain workshop I caught on and tried a procedure that seemed to work better: I'd use the AE lock to hold a workable base exposure, then dial in exposure compensation with the front dial as needed to push the in-finder histogram well over to the right. I did get a few overexposed shots this way, but they were all savable with a curve adjustment.
-- The difference between the R-D 1's basically instant shutter response and the G1's slower response (I know Monza thinks this is all in my head, but my shutter finger says different) took some getting used to, but I did get used to it.
-- I continue to be impressed by how well I can focus wide-aperture lenses on the G1 without resorting to the "manual focus assist" magnification feature. I only used it about twice, and both times it showed peak focus where I already had gotten it at normal magnification.
-- Looking at the shots in Lightroom, I was worried that the G1 images seemed to display more chroma noise in dark areas. But when I exported them, they looked considerably better than what I had seen on the monitor -- and in fact better than a few comparison images I exported from Raw Developer. Maybe I can stop worrying about this, at least in most cases...
-- I was shooting roughly equal amounts with both cameras, but was surprised to find that my initial "quick picks" favored the G1 by about a 3:1 margin. I suspect this is mostly because I used the R-D 1 for wider lenses and the G1 for longer ones, and being a bit of a throwback I still like the old-fashioned photojournalism approach of using just a few wide "establishing shots" to set the scene, then trying to tell the story with details.
Anyway, the combo-concept experiment seems to be going well for me... and maybe it's my imagination, but carrying a bag with the R-D 1, the G1, and five M-mount lenses (21, 28, 35, 50 and 100) still seems lighter than carrying a bag with my Nikon D300 and 35/2, 50/1.4/ 85/1.8, and 70-200/2.8!
So far, I'm liking the idea...