Three trees in dusk light on a cloudy winter evening, reflected in the surface of a wetlands pond.
California’s Great Central Valley can be a place of surprises. It often seems to be mainly agricultural, presenting a rather flat landscape broken up by farm houses and roads. At times the air is hazy, and it isn’t usually a place of grand vistas. And then it surprises you. On a clear day you may look east toward the Sierra Nevada, snow covered in winter. Far to the north, days of exceptional clarity reveal the massif of Mount Shasta looming over the upper end of the Valley. There are subtler landscapes, too — river banks, oak trees, wetlands, and more.
As this day came to an end a minor weather front laid a line of clouds across the western sky. As the clouds turned red at sunset, the reflection produced a huge arch across the horizon above the hills along the western border of the valley, and the scene was mirrored in a shallow wetlands pond.
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” is available from Heyday Books and Amazon.
Earlier today I was asked a question about cameras for landscape photography, and since I think the answer may be of interest to others, too, I am sharing the reply here. “Pat” asks:
I have been reading a number of your posts and have to say that I appreciate your balanced pperspective on camera selection….something that is missing in much of these discussions.
I am a landscape photographer that purchased a Sony A7RIIII to complement my A6000. However I have recently become infatuated with the Fuji XT-3. While many Fuji users seem to be more street or travel photographers, I focus mainly on landscape.
I would appreciate your thoughts on the “better” system for landscapes.
This is a pretty common question — whether to hold out for a camera with larger sensor and higher megapixel (MP} resolution or to go with a smaller and lighter APS-C format camera with lower sensor resolution.
“Alpine Lake, Morning” — A solitary sunrise angler stands on shoreline rocks at an alpine Sierra Nevada lake reflecting a nearby peak. (Photographed with a Fujifilm XPro2 and the Fujifilm 16-55mm f/2.8 lens.)
You might think the answer is obvious — a system with a larger sensor and high megapixel resolution is capable of producing images with more detail. However, there are some considerations that turn this into a somewhat subjective question with more than one “correct” answer.
The classic understanding holds that, for example, a 50MP full frame sensor can resolve more detail than, say, a 24MP APS-C sensor. In fact, this is true. If you work with care, using a tripod and a remote release and paying careful attention to things like accurate focus, aperture selection, and camera stability, you can produce a larger print from the higher MP full frame image. So the larger, higher MP system can help if you are likely to produce very large prints .
One of my camera systems uses a 24MP Fujifilm APS-C sensor. I’m absolutely confident that I can produce excellent 20″ x 30″ prints from images shot on this system. But my other system uses a Canon 51MP sensor, and it can go even larger, reliably producing 30″ x 45″ and larger print sizes.
Update (1/15/2023): During the past month I acquired a Fujifilm X-T5, a new 40MP APS-C camera. While my main use for the camera is not landscape, I have now made some landscape photographs with it, and I feel like I have a sense of whether the high resolution sensor is useful in this smaller format. In short, it is. Test images that I have made show lenses I regularly use with the camera are “sharp” enough to produce details that benefit from the higher sensor resolution. If you have an older 24MP or 26MP sensor, should you go out and upgrade? Not necessarily. This is not a “night and day” difference, but one you might notice if you make large prints and look closely. But if you are at the point of getting a new APS-C camera and you wonder if 40MP even makes sense in this format… it does.
So, how large will you print? If your realistic answer is, “probably no larger than 16″ x 24″, you can get excellent results from the APS-C camera as long as you use good technique. In all honesty, you could hang 16″ x 24″ prints from the 24MP APS-C system and from the 51MP full frame system side by side… and no one would notice a difference. The odds are that virtually no one would notice at 20″ x 30”. A very experienced photographer carefully comparing side-by-side prints might see a subtle difference.
If you find that APS-C is good enough — and for many photographers is is more than good enough — this smaller format has some other advantages. The cameras tend to be smaller and lighter. The lenses are also smaller and lighter, partly because a given focal length doesn’t have to cover as large of an image circle. In addition, you get the same angle-of-view coverage from a shorter lens. For example, a 50mm focal length on my Fujifilm APS-C system gives me the same angle of view as a 75mm focal length on full frame. And last but quite possibly not least, APS-C sensor systems tend to cost less than full frame equivalents.
So, yes, bigger sensors and higher MP count can be “better…” but perhaps in ways that you’ll never see. So if you won’t print so large (or perhaps you never print at all) and you value a smaller and lighter system and perhaps saving some money… you could be extremely happy with a good APS-C system, as long as you can find all of the lenses you’ll need for it.
NOTES: This article was slightly updated in June of 2021 and again in early 2023.
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” is available from Heyday Books and Amazon.
A northern harrier lifts its wings as it begins to take off from a fence post on a foggy morning.
We were slowly passing along a gravel road when we spotted this bird perched on a nearby fencepost. Most often when I approach birds like this one they don’t leave immediately — but many times they seem to get nervous and depart if I stop nearby. With that in mind we moved very slowly as we approached. We stopped some distance away and photographed. Then we moved a bit closer and photographed some more. Finally we stopped immediately parallel to the bird and continued to photograph. Somewhat to my surprise, the bird continued to stick around. (Don’t judge my distance from the bird by the photograph — I used a very long lens and have cropped from the original full image.)
We were very fortunate to have the opportunity to observe this beautiful bird up close for several minutes as it stuck around. It looked this way and that, preened a bit, but continued to stand on the pole. Often in a case like this I keep photographing since I know the bird won’t be there long. This time the darned thing posed long enough that I paused my photography. Finally, with little warning, the harrier took flight. Fortunately I already had it in my viewfinder, so I was able to capture this instant as the wings came up in preparation for flight.
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” is available from Heyday Books and Amazon.
A lone tree full of small birds and still holding a few autumn leaves stands in wetlands on the last winter evening of the year.
There are beautiful landscapes, effects of atmosphere, and light almost everywhere. We often imagine that we have to go to special or iconic places to find them, but that isn’t always true. (Yes, I do go to those places, too.) For many years I have marked the time between those longer trips to more famous places by photographing closer to home, often in less dramatic landscapes — sometimes so close that I can walk out my front door to find them. Over time these places have become as special as any.
Wetlands are found all over California, with the only major exceptions being among high peaks and in the deserts. (If you look hard enough, you may find occasional examples even in those places.) You can find them along the coast and they are abundant along the state’s many river drainages. I photographed this scene at the end of the year, in the early evening of a winter day when a few autumn leaves remained, the light was softened by high clouds, and winter haze muted the colors.
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” is available from Heyday Books and Amazon.
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
Manage Consent
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional
Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.
