S
stnami
Guest
I have limited use for it, but it's small enough and there as a last resort light wise
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Dear All,
A funny thing happened to me while saving up for one of the Ricohs and some good weatherproof Olympus gear — a BEAUTIFUL Epson RD1 with no more than than 200 actuations! (I'm still interested in the GRD2 and the Oly 12 - 60 and 50/2 a body for them, but now perhaps not for a good long while.)
Naturally, I've got questions about how best to proceed and am coming to you for advice. "In the mouth of many counselors is great wisdom" and all that. Please bear with me as I think this initial part of it through.
1. THE CONSTRAINTS:
My budget is limited but I might be able to wangle another $800 - $1000 for additional lenses and software, should either prove necessary.
My eyesight is a bit limited, too, what with a good deal of astigmatism and some glaucoma. The astigmatism allows me to enjoy multiple moonrises while others are limited to one; the glaucoma necessitates the use of Lumigan eye drops that also produced hazy and haloed light sources (which, however, do tend to normalize during the course of the day.) Both tend toward problematic focusing. I'm getting pretty good at estimating distances, however, and I’m determined to see it through.
I CAN see the RD1's focusing patch clearly with my glasses on, but that restricts the view of the frame lines more than I'd prefer. I also have an old viewfinder attachment for a Nikon 6006 that holds a prescription corrective lens, so that should work equally well, but it doesn't seem to want to mount securely on the RD1.
My first question, therefore, has to do with finding a source for a corrective eyepiece that WILL fit the Epson. Any suggestions?
2. LENSES:
I've gathered together a few lenses over the years that will work on the RD1 but have had no bodies to use them with. M-mount rangefinders, whether film or digital, have been way out of my reach, so I was getting the lenses together in sheer hope. The first of them was actually given to me in the early 80s — a 35/2.8 Canon in LTM. The next was a 40/2 Minolta Rokkor and finally I was able to find another Canon LTM — a 28/2.8.
I've read Sean's reviews and am eager to begin using the Canons he so appreciates for B & W. The 40/2 should be a good complement to them for more subdued lighting and color work. It's the one I've begun to use in these in these first few days. I think it’s a good little package to get on with but want to know what you might suggest that I keep my eyes open for?
Are there any obvious lacks, thoughtful suggestions or dynamite deals you could point out? I don’t think I need to go wider for the moment but do think I'd like a bit more reach for portraits. There are 50mm frame lines built in, so that makes for an obvious candidate and a 50 would be easier to focus than a 75 or 90. I’d be happy to sample anything, but think my money might be better spent doing something else....
50, 40, 35 and 28 are my most probable focal lengths, then, but what speed? My daughter is getting married in August in Long Beach. While I won't be *doing* the wedding, but I'd like to help out with some documentary candids. The problem is she's having an evening wedding which starts about 15 minutes after sundown!
So I'd WANT a faster lens or two but wonder about focusing and DON’T want an unnecessarily redundant set of lenses.
Sean's case for a high res/low contrast combination on the RD1 makes sense to me. Both the 35/1.7 Ultron and the 28/1.9 Ultron fit this prescription as might the Canon 50/1.2. What else? Camera Quest is touting Voightlander’s 35 and 40 in 1.4 or 1.2. Might they be too high contrast or too hard to focus? OTOH Are higher or lower contrast moot points when shooting in available darkness?
Furthermore, the faster one goes the thinner the slice that's in focus becomes. If I'd have to go to 2.8 or 3.5 to ensure focus anyway, then the faster lenses might be overkill. (Except one would still have the more subtle qualities of that particular lens's *drawing,* thereby redeeming an apparently redundant choice!)
It gets complicated, doesn’t it, especially from a distance compounded by ignorance! So you can see why I’d like to draw upon your store of knowledge. What am I missing and what might you suggest? ALL contributions will be gratefully accepted!
3. SOFTWARE AND POST-PROCESSING:
Much the same in this department. I’ve read about Sean’s workflow but that was written a few years ago and I wonder what’s the best way forward as of now?
What I have is a G5 Mac desktop running OS 10.4. Photoshop CS2 and Lightroom. My intention is to work primarily in black and white with the RD1, and I’d like a consistently B & W workflow, but I do respond to color and won't rule that out entirely.
So, in a word, please rejoice with me — and help!
I’m really stoked!
Irenaeus
A funny thing happened to me while saving up for one of the Ricohs and some good weatherproof Olympus gear — a BEAUTIFUL Epson RD1 with no more than than 200 actuations! (I'm still interested in the GRD2 and the Oly 12 - 60 and 50/2 a body for them, but now perhaps not for a good long while.)
Naturally, I've got questions about how best to proceed and am coming to you for advice. "In the mouth of many counselors is great wisdom" and all that. Please bear with me as I think this initial part of it through.
1. THE CONSTRAINTS:
My budget is limited but I might be able to wangle another $800 - $1000 for additional lenses and software, should either prove necessary.
My eyesight is a bit limited, too, what with a good deal of astigmatism and some glaucoma. The astigmatism allows me to enjoy multiple moonrises while others are limited to one; the glaucoma necessitates the use of Lumigan eye drops that also produced hazy and haloed light sources (which, however, do tend to normalize during the course of the day.) Both tend toward problematic focusing. I'm getting pretty good at estimating distances, however, and I’m determined to see it through.
I CAN see the RD1's focusing patch clearly with my glasses on, but that restricts the view of the frame lines more than I'd prefer. I also have an old viewfinder attachment for a Nikon 6006 that holds a prescription corrective lens, so that should work equally well, but it doesn't seem to want to mount securely on the RD1.
My first question, therefore, has to do with finding a source for a corrective eyepiece that WILL fit the Epson. Any suggestions?
2. LENSES:
I've gathered together a few lenses over the years that will work on the RD1 but have had no bodies to use them with. M-mount rangefinders, whether film or digital, have been way out of my reach, so I was getting the lenses together in sheer hope. The first of them was actually given to me in the early 80s — a 35/2.8 Canon in LTM. The next was a 40/2 Minolta Rokkor and finally I was able to find another Canon LTM — a 28/2.8.
I've read Sean's reviews and am eager to begin using the Canons he so appreciates for B & W. The 40/2 should be a good complement to them for more subdued lighting and color work. It's the one I've begun to use in these in these first few days. I think it’s a good little package to get on with but want to know what you might suggest that I keep my eyes open for?
Are there any obvious lacks, thoughtful suggestions or dynamite deals you could point out? I don’t think I need to go wider for the moment but do think I'd like a bit more reach for portraits. There are 50mm frame lines built in, so that makes for an obvious candidate and a 50 would be easier to focus than a 75 or 90. I’d be happy to sample anything, but think my money might be better spent doing something else....
50, 40, 35 and 28 are my most probable focal lengths, then, but what speed? My daughter is getting married in August in Long Beach. While I won't be *doing* the wedding, but I'd like to help out with some documentary candids. The problem is she's having an evening wedding which starts about 15 minutes after sundown!
So I'd WANT a faster lens or two but wonder about focusing and DON’T want an unnecessarily redundant set of lenses.
Sean's case for a high res/low contrast combination on the RD1 makes sense to me. Both the 35/1.7 Ultron and the 28/1.9 Ultron fit this prescription as might the Canon 50/1.2. What else? Camera Quest is touting Voightlander’s 35 and 40 in 1.4 or 1.2. Might they be too high contrast or too hard to focus? OTOH Are higher or lower contrast moot points when shooting in available darkness?
Furthermore, the faster one goes the thinner the slice that's in focus becomes. If I'd have to go to 2.8 or 3.5 to ensure focus anyway, then the faster lenses might be overkill. (Except one would still have the more subtle qualities of that particular lens's *drawing,* thereby redeeming an apparently redundant choice!)
It gets complicated, doesn’t it, especially from a distance compounded by ignorance! So you can see why I’d like to draw upon your store of knowledge. What am I missing and what might you suggest? ALL contributions will be gratefully accepted!
3. SOFTWARE AND POST-PROCESSING:
Much the same in this department. I’ve read about Sean’s workflow but that was written a few years ago and I wonder what’s the best way forward as of now?
What I have is a G5 Mac desktop running OS 10.4. Photoshop CS2 and Lightroom. My intention is to work primarily in black and white with the RD1, and I’d like a consistently B & W workflow, but I do respond to color and won't rule that out entirely.
So, in a word, please rejoice with me — and help!
I’m really stoked!
Irenaeus
LCT
Member
I use eyepiece correction lenses for Nikon FA, FM2 and FE2 bodies. Can be found at B&H ref. # NIDP1FM2.
I don't know the Canon but i've had back focus issues with my Rokkor 40/2. I prefer the Summicron-C 40/2 for this very reason but both are very close IQ wise and other users have no problem with their Rokkor.
I don't know this Canon either but it will be difficult to focus at full aperture due to the short base length of the rangefinder.
Aside from the expensive asph model, which is the sharpest 50 i've ever used at f/1.4, my favourite 50 is the latest version of the pre-asph Summilux 50/1.4, but i like much the Summicron 50/2 with tab from the seventies as well as the current Elmar-M 50/2.8 but the latter is more contrasty.
Otherwise, i don't like the OoF rendition of the CV 35/1.7 that i find quite harsh personally.
Never used the 28/1.9 Ultron but it is very well noted by many photographers.
Don't know if i may call this 'workflow' but i own a G5 as well and for B&W and color i use exclusively the Epson raw converter with Photoshop Elements 2 and a couple plug-ins like iCorrect for white balance and Fred Miranda's Nikon CS Pro for sharpening.
Last edited:
S
sirvine
Guest
I prefer the M8, but I still use my R-D1 pretty regularly: http://solsphere.com/index.php?showimage=654
Here's a nice example of the R-D1's excellent and useful ISO 800: http://solsphere.com/index.php?showimage=633
Here's a nice example of the R-D1's excellent and useful ISO 800: http://solsphere.com/index.php?showimage=633
Nice to see a thread on the R-D1!
I'm trying to find a compact reasonably wide lens for my R-D1s. I have tried 2 VC 35/2.5, both the new PII and the Skopar Classic, that were both faulty so I sent them back. I have of course read Seans excellent review of 35mm lenses for the M8, where his sample performs very very well, so I had high hopes for this lens. Now I'm looking at alternative options in the 28/35mm range, compact size being a priority. I'm eyeing the new Summarit 35/2.5 and the "new" Elmarit 28mm ASPH, both look quite interesting, the 28 more so. The Leica 28/2.8 is almost as compact as the Voigtlander 28/3.5, so I fear it might vignette as badly as the VC.
Does anyone have experience with the new Elmarit 28 ASPH on the R-D1 and have any comments about vignetting?
For the record I have these lenses already: 21/4P, 28 Ultron, 50 Nokton, 75 Heliar.
I'm trying to find a compact reasonably wide lens for my R-D1s. I have tried 2 VC 35/2.5, both the new PII and the Skopar Classic, that were both faulty so I sent them back. I have of course read Seans excellent review of 35mm lenses for the M8, where his sample performs very very well, so I had high hopes for this lens. Now I'm looking at alternative options in the 28/35mm range, compact size being a priority. I'm eyeing the new Summarit 35/2.5 and the "new" Elmarit 28mm ASPH, both look quite interesting, the 28 more so. The Leica 28/2.8 is almost as compact as the Voigtlander 28/3.5, so I fear it might vignette as badly as the VC.
Does anyone have experience with the new Elmarit 28 ASPH on the R-D1 and have any comments about vignetting?
For the record I have these lenses already: 21/4P, 28 Ultron, 50 Nokton, 75 Heliar.
LCT
Member
This lens is very sharp and very contrasty at all apertures.
Due to this high contrast, blown highlights are sometimes difficult to avoid with the R-D1.
Otherwise, the Elmarit 28/2.8 asph is probably the best 28 i've ever used except the Summicron 28/2 which is my favourite for its smoother bokeh.
Vignetting is generally easy to manage with the Epson raw converter (pic below), much easier so than the CV 21/4 P i own as well.
But if you shoot jpegs, it will vignette severely like any 28 on the R-D1.
Thanks for info! There seems to be some variation even between 28's regarding the vignetting on R-D1. The VC 28/3.5 is actually worse than the 21/4, according to Seans article at LL. I appreciate your comparison to the 21/4, which gives me something to compare with, since I know it fairly well.
I always shoot RAW, but don't like the Epson program, so I use CO4 instead, usually correcting vignetting in PS3. I guess there would be some advantages in correcting vignetting before the RAW conversion?
I always shoot RAW, but don't like the Epson program, so I use CO4 instead, usually correcting vignetting in PS3. I guess there would be some advantages in correcting vignetting before the RAW conversion?
LCT
Member
I only use the Epson raw converter and plug-in so i don't know sorry.
LCT
Member
Yes it increases the power consumption of the camera but in turn you'll gain a RAW buffer increased from 2 to 3 frames, a new RAW+JPEG option, a hot pixel correction, a better auto white balance, some noise improvement at 1600 iso and the ability to use SD cards up to 2 GB. Worth the move IMHO.
S
Sean_Reid
Guest
Exactly, the only downside that I've experienced is decreased battery life. Otherwise, its well worth doing.
Cheers,
Sean
Cheers,
Sean
E
espressogeek
Guest
I really miss my RD-1. I have really had any issues with mine and the photos were fabulous using a zeiss 35/2. It was also quite the conversation piece.
Thank you, LCT and Sean, for your advice about upgrading my RD1. I’m in the process of doing so now. I’ve also downloaded the latest upgrade to PhotoRaw for the Mac.
The biggest problem now, and one that has me pretty much dead in my tracks, seems to involve getting my analogue mind around digital concepts and developing a decent post-processing workflow — a problem, one might say, of Mindflow!
What I’m trying to do is to integrate EpsonRaw, Lightroom and Photoshop CS2 all of which I’ve already purchased. I’m using them on a Macintosh G5 PowerPC. My goal is to major in B & W and to minor in work in colour. Here we go:
1 — You've written, Sean, that you like to use Epson’s PhotoRaw for RD1 files. I’d be happy to try that out but can’t yet figure out HOW! For example, let’s say I’ve downloaded files from the RD1 to the desktop and launched PhotoRaw. Can I then batch process those files? If so, do I then:
a.) batch process them through PhotoRaw with minimal processing, doing nothing but converting them to 16bit TIFFs and putting them into their own folder on the desktop so Lightroom or Photoshop can be used to get them ready to print, or
b.) do a lot more processing right there in PhotoRaw so that any adjustments will be made as closely as possible to the originally capture data, thereby degrading the file as little as possible before proceeding as in “a” above?
If “b,” what adjustments in particular? Just anything doable by the batch or must I process files individually even at this early state? Should I adjust just a little bit of what may eventually prove necessary and finish that adjustment in Lightroom and CS2? OTOH, are there controls in the Epson application that I should never use under any circumstances?
2 — I assume Lightroom should be the hub of the pp workflow, receiving files from EpsonRaw or some other converter, sorting and doing global changes and handing files over to Photoshop and other editors for local adjustments. Is this right, or would you advise something else, like leaving Lightroom completely out of it and doing everything in a combination of photoRaw and Photoshop?
3 — My printer is an HP-B9180. I tried making a print with it last night that was a disaster! In addressing that problem, which application should I actually be using to produce the final print?
4 — What about further software? Do I need to upgrade to CS3 without delay or wait till the next one or not even bother?
I admit to being stymied and apologize in advance for the time my quandary might cause you (or anyone else who wants to chime in.)
Very sorry to read of your injury, Sean. That can be so painful. Hope you recover completely in record time!
All the best,
Irenaeus
The biggest problem now, and one that has me pretty much dead in my tracks, seems to involve getting my analogue mind around digital concepts and developing a decent post-processing workflow — a problem, one might say, of Mindflow!
What I’m trying to do is to integrate EpsonRaw, Lightroom and Photoshop CS2 all of which I’ve already purchased. I’m using them on a Macintosh G5 PowerPC. My goal is to major in B & W and to minor in work in colour. Here we go:
1 — You've written, Sean, that you like to use Epson’s PhotoRaw for RD1 files. I’d be happy to try that out but can’t yet figure out HOW! For example, let’s say I’ve downloaded files from the RD1 to the desktop and launched PhotoRaw. Can I then batch process those files? If so, do I then:
a.) batch process them through PhotoRaw with minimal processing, doing nothing but converting them to 16bit TIFFs and putting them into their own folder on the desktop so Lightroom or Photoshop can be used to get them ready to print, or
b.) do a lot more processing right there in PhotoRaw so that any adjustments will be made as closely as possible to the originally capture data, thereby degrading the file as little as possible before proceeding as in “a” above?
If “b,” what adjustments in particular? Just anything doable by the batch or must I process files individually even at this early state? Should I adjust just a little bit of what may eventually prove necessary and finish that adjustment in Lightroom and CS2? OTOH, are there controls in the Epson application that I should never use under any circumstances?
2 — I assume Lightroom should be the hub of the pp workflow, receiving files from EpsonRaw or some other converter, sorting and doing global changes and handing files over to Photoshop and other editors for local adjustments. Is this right, or would you advise something else, like leaving Lightroom completely out of it and doing everything in a combination of photoRaw and Photoshop?
3 — My printer is an HP-B9180. I tried making a print with it last night that was a disaster! In addressing that problem, which application should I actually be using to produce the final print?
4 — What about further software? Do I need to upgrade to CS3 without delay or wait till the next one or not even bother?
I admit to being stymied and apologize in advance for the time my quandary might cause you (or anyone else who wants to chime in.)
Very sorry to read of your injury, Sean. That can be so painful. Hope you recover completely in record time!
All the best,
Irenaeus
LCT
Member
Sean, sorry to hear of your injury, hope you'll recover soon and well.
Irenaeus, here's my well known
'5 minutes workflow' FWIW.
1. Shoot RAW + JPEG pics and choose keepers by reviewing jpegs in the first place.
2. Open ERF files with the Epson raw converter, or with Photoshop or same through the Epson raw plug-in. For BW pics, set Basic/White Balance, Film/Monochrome filter, Special/Vignetting, Special/Highlight-Shadow points, Exposure compensation.
3. Save as a TIFF file after having erased the 'Embed' Epson profile, if you don't like it, by unchecking its case in the Save as window.
4. Close the TIFF file and re-open it in Photoshop or same for remaing PP. AFAIC i use iCorrect for color works and Fred Miranda's Nikon CS Pro for sharpening but YMMV naturally.
Besides, i don't know your printer at all but if you don't like your results, my advice would be to test different papers first of all.
Irenaeus, here's my well known
'5 minutes workflow' FWIW. 1. Shoot RAW + JPEG pics and choose keepers by reviewing jpegs in the first place.
2. Open ERF files with the Epson raw converter, or with Photoshop or same through the Epson raw plug-in. For BW pics, set Basic/White Balance, Film/Monochrome filter, Special/Vignetting, Special/Highlight-Shadow points, Exposure compensation.
3. Save as a TIFF file after having erased the 'Embed' Epson profile, if you don't like it, by unchecking its case in the Save as window.
4. Close the TIFF file and re-open it in Photoshop or same for remaing PP. AFAIC i use iCorrect for color works and Fred Miranda's Nikon CS Pro for sharpening but YMMV naturally.
Besides, i don't know your printer at all but if you don't like your results, my advice would be to test different papers first of all.
LCT
Member
No no never. I always download all the files to an hard disk in the first place and format the card in the camera afterwards.
P
PeterLeyssens
Guest
Hi,
I never thought the Epson R-D1 was very interesting until I just saw second hand prices on the most well known auction site. At about €1000, it sounds like a good deal. I'll be reading up on it, but I know one question won't be answered: how well does it fare with M39 Leica screw mount lenses ? I have a Summitar 50/f2 (which becomes a 75mm) and a Summaron 35/f3.5 (about 50mm). I may be considering an M mount 35mm later on, too, but I will definitely want to use my M39 lenses in the beginning. They are clearly not designed for digital, so I'm a bit worried about the image quality.
Aside from that, I'm not too worried about too much. Any rangefinder will be easier to focus than the Zorki I'm used to
Peter.
I never thought the Epson R-D1 was very interesting until I just saw second hand prices on the most well known auction site. At about €1000, it sounds like a good deal. I'll be reading up on it, but I know one question won't be answered: how well does it fare with M39 Leica screw mount lenses ? I have a Summitar 50/f2 (which becomes a 75mm) and a Summaron 35/f3.5 (about 50mm). I may be considering an M mount 35mm later on, too, but I will definitely want to use my M39 lenses in the beginning. They are clearly not designed for digital
, so I'm a bit worried about the image quality.Aside from that, I'm not too worried about too much. Any rangefinder will be easier to focus than the Zorki I'm used to
Peter.
S
sirvine
Guest
Peter,
I have no personal experience with those lenses you mention, but perhaps you will find this thread interesting: http://www.rangefinderforum.com/forums/archive/index.php/t-51563.html
Sol
I have no personal experience with those lenses you mention, but perhaps you will find this thread interesting: http://www.rangefinderforum.com/forums/archive/index.php/t-51563.html
Sol