uncropped unprossesed 35/2 asph snapshots

I love the 35/2 asph on the RD-1. The range of tones in your shots would have stood additional exposure, without blowing meaningful highlights. I do find the Epson to be very conservative with exposure. Unless I see a hot-spot where I want to hold detail / tone, I tend to dial-in +2/3 compensation. This is especially true with wides like the 32 cron asph, and, lately, the 28 cron asph and 28 version 4 Elmarit. A situation to watch-out for is where you're using window light, say for a portrait, with part of the window in shot and only room reflectance as fill. Experience would tend to suggest that one opens up, accepting some over-exposure of the window to bring up moderate shadow detail. However, I've found that even moderate overexposure can lead to a nasty, blown highlight on a face or hand, or light toned clothing. In those cases, I tend to dial in minus exposure compensation, even though I know that the default AE setting will be supplying a degree of underexposure, already. Thanks to the Epson RAW file's forgiveness of underexposure, I can bring-up the shot in P&P, and still have a tame highlight area. That said, the Epson file does, at all other times, still benefit from as full as exposure as possible, to get the best signal to noise ratio for the given frame.

You won't regret your investment in the 35 cron ashp. If you want to go wider, the 28 Elmarit version 4 is a great performer, and usually available for a good price, secondhand. I have one, and favour it over the 28 f2 cron ashp that I'd thought I would replace it with.

Crane
 
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Thanks Crane

Thanks Crane

A handful of these do have EV dialed up 2/3 or +1, but for this series I was going for a documentary look, and upping the EV on all of them, while probably producing a more centered histogram would have made it look brighter than the way it was.

I only do JPGs, no raw photoshop manipulation here or tuning for optimal s/n ratios. For 28s, I like the Zeiss 28/2.8 Biogon.

Crane said:
I love the 35/2 asph on the RD-1. The range of tones in your shots would have stood additional exposure, without blowing meaningful highlights. I do find the Epson to be very conservative with exposure. Unless I see a hot-spot where I want to hold detail / tone, I tend to dial-in +2/3 compensation. This is especially true with wides like the 32 cron asph, and, lately, the 28 cron asph and 28 version 4 Elmarit. A situation to watch-out for is where you're using window light, say for a portrait, with part of the window in shot and only room reflectance as fill. Experience would tend to suggest that one opens up, accepting some over-exposure of the window to bring up moderate shadow detail. However, I've found that even moderate overexposure can lead to a nasty, blown highlight on a face or hand, or light toned clothing. In those cases, I tend to dial in minus exposure compensation, even though I know that the default AE setting will be supplying a degree of underexposure, already. Thanks to the Epson RAW file's forgiveness of underexposure, I can bring-up the shot in P&P, and still have a tame highlight area. That said, the Epson file does, at all other times, still benefit from as full as exposure as possible, to get the best signal to noise ratio for the given frame.

You won't regret your investment in the 35 cron ashp. If you want to go wider, the 28 Elmarit version 4 is a great performer, and usually available for a good price, secondhand. I have one, and favour it over the 28 f2 cron ashp that I'd thought I would replace it with.

Crane
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