Tag Archives: high

New Canon 5DS R DSLR: A Printing Test

February 6, 2015 G Dan Mitchell 4 Comments

(Updated: May 2015)

In February 2015 Canon announced the new EOS 5DS DSLR bodies in two versions: the EOS 5DS and the EOS 5DS R The “R” model does not apply anti-alias filtering (AA-filtering) to the image. This is said to have the potential to optimize image sharpness in some cases, though it increases the risk of aliasing/moire artifacts in photographs that include fine patterns such as fabric, screens, and similar. Both versions of the camera have 50.6MP sensors, which more than double the number of photo sites compared to previous Canon 21MP and 22MP full frame sensors.

A big question for people considering this camera is how much potential for image improvement will come from the higher-MP sensors. My feeling is that the improvement should be meaningful for photographers who already push the upper boundaries of potential print size from full-frame image files, but that the increase in MP will not likely mean much to photographers who don’t do this. Since I’m in the former category — and therefore quite interested in the new bodies — I wondered how this might play out in an actual print. (Prints, after all, are where the rubber meets the road with high MP cameras.)

I did not have access to raw files from the new camera at the time of this test, however Canon had made full resolution jpg files available online. (RAW files were not available at the time I conducted the test, but they are not necessary for creating a high quality print, as long as extensive post processing is not used.) I downloaded “Image 2” from the link, which appears to be a straight-from-camera jpg image made with the Canon EF 16-35mm f/4 L IS lens at f/11, 1/500 second, at ISO 200. The image is an aerial photograph of a dense downtown area, with many buildings and other details, including some that should reveal moire artifacts if they are going to be an issue.

My entire workflow with the image was as follows:

Open the Canon jpg file in Photoshop CC.
Resize to 30″ x 45″ at 300 ppi
Select a letter-size section of this resized image and crop it out of the full image. Since I am interested in detail reproduction and how the non-AA-filtering body handles potential moire, I took a section that included the radiating spokes of a ferris wheel against the linear forms of buildings.
Apply my customary output sharpening for prints.
Keeping the resolution of the 30″ x 45″ image, I printed the small section on 8.5″ x 11″ Epson Ultrapremium Lustre paper using my Epson 7900 printer.

The results?

If I handed most people the letter-sized printed extract they would probably think, “Not a bad print — not great, but fine.” But they would not likely notice that they were looking at a tiny fraction of an original 30″ x 45″ print. Skillful photographers and printers who looked closely would be able to see some things suggesting this… but once they heard that it was from a 30″ x 45″ inch print, I’m positive that they would join me in being very impressed. Detail is excellent, especially so for such a gigantic print size. I see no obvious examples of moire artifacts, and I’ve looked closely. I do not not see any smearing of colors, and I can see no noise whatsoever in the print of this detailed image. (I cannot say whether or how much noise would be available in an image of a subject with continuous or smooth gradient tones.)

Since this looked so good, I decided to take things to further and repeat the process — but this time resize to 60″ x 90″ at 300 ppi. For those who don’t know, that would be a very, very big print — four times the print area of the 30″ x 45″ print. Again I selected a letter-size subsection of the final huge image and printed it.

The results?

At this huge size I can certainly see that the image is softer — though whether that is a result of using a 16-35mm ultra wide lens or from the resizing or a combination of the two is open for debate. If you looked at the letter sized print and did not know that it was a crop from an image 5 feet tall and 7.5 feet wide, you would think it was soft. If you made the full print (which I’m not equipped to do!) you would be very impressed. I still see no aliasing/moire artifacts. I do see some slight color smearing in a few areas where there is a sharply delineated edge to a colorful area.

Bottom line: I’m confident that photographers using full frame images to make very large prints are going to like the results from this camera a great deal. I am certainly going to get one — in fact, I have pre-ordered a 5DS R from B&H. (You can do the same using the following links — the cost to you is the same, but you’ll help support this website and article like this one. Thanks in advance!)

Notes:

Update 5/15/15: Since I first posted this article much more information about the cameras has become available, including reports and raw files from parties using late-beta versions of the camera. I have had a chance to look at some raw files and they seem quite good to me in every way that matters to my photography.
Update: The cameras are now available for pre-order (as of 3/23/15), and I posted an article with more information more about the cameras.
The original version of this article incorrectly stated that Canon’s example file was made with the new EF 11-24mm f/4L USM lens. The article has been edited to correct this error.
As a side note, the level of detail in the sample image speaks very well for the resolving power of the Canon EF 16-35mm f/4 L IS lens.

5Ds and 5Ds R Articles:

Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.

Photographs: Nature, Photographs: Sierra Nevada

Mount Humphreys, Dawn

January 5, 2015 G Dan Mitchell Leave a comment

This photograph is from a spectacular landscape in the eastern Sierra above the town of Bishop, in what is sometimes called “Buttermilk Country,” or just plain “the Buttermilks.” Here the land rises steadily from the Owens Valley lowlands, first gradually, then building into the eroded and rounded rocky hills like those catching the sun in the center of this photograph, and finally culminating in the alpine peaks of the Sierra Nevada Crest. The tallest peak in the photograph is Mount Humphreys.

As is typical in autumn, I was in the eastern Sierra to photograph fall color — which mostly means aspens. My recollection is that we started up toward the mountains from Bishop very early in the morning, before sunrise, and then decided that the dawn light on the eastern face of the Sierra offered more possibilities than yet more aspen photographs — besides, the aspens would still be there after this sunrise light was gone! We left the main road and followed gravel tracks to this spot with its view of foreground hills and Sierra crest peaks just as the dawn light show began.

G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him.

All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.

Photographs: Nature, Photographs: The Southwest, Photographs: Utah

Highlands, Autumn Light

December 19, 2014 G Dan Mitchell Leave a comment

High country of Zion National Park in evening light

On this visit to Zion National Park we did not stay in the usual place, the park boundary town of Springdale, with its hotels and restaurants. Instead we stayed at a place a bit more off the beaten path, up a quiet road quite a few miles away from this town, where we had a home to stay in for a few days.

In the past I have visited many of the more popular areas of the park, since I’m still new to Utah and its national parks and feeling my way into a better understanding of these places. By the time of this trip some elements of the experience were beginning to feel familiar, and we were beginning to look at places we had not visited before. This is one of those areas, and we headed up into it late in the day, when others mostly seemed to be heading down. We weren’t really quite certain what we would find, but we figured that we would at least get up high. On the return trip we came to an area of open terrain with peaks to one side as the sun was setting, and driving past this spot I was stopped short by the light. We stopped, I got out, and I made this photograph more or less from the roadside.

Photographs: Nature, Photographs: Northern California, Photographs: Sierra Nevada

High Desert Aspens, Autumn

December 12, 2014 G Dan Mitchell Leave a comment

Yellow and orange autumn aspen trees in the high desert terrain of the eastern Sierra Nevada

My “discovery” of Sierra Nevada aspen trees has gone through a number of phases. I was first aware of these trees many years ago, early in my backpacking career, when I frequently encountered the trees and their fluttering leaves along backcountry trails. (To this day, when I think of the green trees, one of the first places that comes to mind is a humble little thicket along the trail to Cathedral Lakes.) It was not until much later, believe it or not, that I made the connection between these trees and the color show that they put on for us in the fall. Perhaps this was because my orientation to the Sierra was from the west side (rather than the east, where the most spectacular aspen displays are arguably located) and because I rarely visited the range during aspen color season, instead going almost exclusively in summer (for camping, hiking, backpacking, and occasional climbing) or winter (for cross-country skiing.)

Perhaps fifteen or twenty years ago I had my first introduction to the “east side.” I know that sounds crazy, especially for someone who has loved the Sierra for a lot longer than that, but somehow it worked out that way. On the bright side, I had the opportunity to discover a whole new aspect of the Sierra at a relatively later point in my life. After “discovering” the precipitous east side of the range, it wasn’t a big step to expand my season a bit to include late September and October, which eventually became my favorite times to be in the range — for aspens of course, but also for beautiful fall weather and the occasional early season storm. More recently, after perhaps a decade of heavy focus on the eastern Sierra aspens each fall, I have begun to turn my eyes further east, to the color along the base of the range and in the mountains to the east of the Sierra, where the trees often grow in spare, dry surroundings.

G Dan Mitchell Photography

Tag Archives: high

New Canon 5DS R DSLR: A Printing Test

Mount Humphreys, Dawn

Highlands, Autumn Light

High Desert Aspens, Autumn

Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.