spoon said:
Hello there.
I have no experience with film-based RF cameras... When I got interested in photography, digital cameras were everywhere already.
However, I would like to try the digital RF ones like the Epson R-D1s and the Leica M8.
I am leaning on the Epson R-D1s.
May I ask how it performs in long exposures like 30 seconds and longer. I am interested in using it for shooting nightscapes.
Currently, I am using Dslr's for my nightscapes...
May I ask where you purchased your R-D1s and M8's?
I think there are members who own both RF's and dSLR's... Based on your experience when shooting in GMA, when do the guards stop you more, when using your RF or dSLR?
Thanks
Rodney
Rodney
Welcome!
True RF experience should start with a film RF. It is as "pure" as a camera can get.
😀 Believe, the digital version (I can only speak for the R-D1s) is at best a standby. It still has yet to perform as responsively as my Zorkis. I've missed more than a few shots because the camera suddenly decided to sleep. A mechanical camera with film is always awake- no sensors to rouse up when a decisive moment comes. A film inside a cocked mechanical camera is always ready to respond to the moment.
I do like my R-D1s. It's a wonderful camera, but I have yet to see it deliver the goods in the way my old Zorki or FED does so elegantly.
Like any digital camera, long exposures can be a problematic area. The R-D1s still makes a lot of noise- at least more than what I would want. A 30sec exposure also slows down the camera. It will use 30 secs as well to write the file. Camera would often be unable to shoot when it writes.
The R-D1s was bought in Japan.
When you use a smaller camera, you tend to get less noticed. People also tend not to "take" you seriously and would often go about their business, unmindful of getting photographed. A large black SLR with an equally humongous zoom lens screams "Professional"- and people would react many ways. They would stop, hide, or suddenly pose. They immediately think that the shooter is a pro, who would either publish or sell the photos. The last issue is why some would stop the photographer from shooting outright.
This is the reason why guards in commercial establishments stop photography.
They have been ordered by their employers, who zealously insist on proctecting their interests against possible 'exploitation'.
Jay