Tag Archives: 50.6

Equipment

The Canon 5Ds R — Dynamic Range Examples

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Updated August 13, 2015 to add a second dynamic range adjustment example.

Ongoing development and refinement of digital camera technology continues to improve cameras and the technical quality of the images they produce. Color accuracy improves, dynamic range expands, sensor resolution increases, AF accuracy gets better, and so on.

The Canon EOS 5Ds and the Canon EOS 5Ds R continue this process. Their most notable feature is the 50.6 megapixel (MP) sensor, currently the highest sensor photo site density available on full frame digital cameras. (Nikon and Sony both produce 36MP sensor cameras using Sony sensors, and Sony has introduced a camera with a 42MP sensor. Note that the differences between 36MP, 42MP, and 50.6MP are less than you might expect.)

When it comes to dynamic range — the ability of the sensor to record a wide range of luminosity levels from very bright to quite dark in a single exposure — Sony is the current champion, and cameras using their sensors have the largest available dynamic range among comparable cameras. (Some MF cameras have more dynamic range capability than any current full frame camera. )

(All current digital cameras capture images with more dynamic range than we can display on monitors or in prints — the display media cannot keep up with the capture technology. Consequently, the primary advantage of greater dynamic range comes in post-production, where the photographer will find more useful scene data in darker areas that can be “pushed” or otherwise recovered while maintaining useful image quality.)

If you can get more dynamic range without giving up anything else, there is no reason not to have it. In marginal situations, that extra bit of dynamic range might enable you to get a bit more image data in a single exposure, while a photographer with a camera providing less dynamic range is a bit more likely to have to use exposure bracketing or HDR techniques (which combine multiple images in post-production), use a graduated neutral density filter, or possibly find ways to suppress noise in shadow areas of scenes with very wide dynamic range. That said, all current high quality digital cameras capture a wide dynamic range — much larger, for example, that was possible with typical film media. (Note, however, that no currently available full frame camera can capture in a single exposure the largest dynamic range scenes that you may encounter.)

With all of that in mind, I thought I’d share a couple examples of files from the Canon 5Ds R that have been pushed quite a bit. Continue reading The Canon 5Ds R — Dynamic Range Examples →

Equipment

The Canon EOS 5Ds R — Resolution Examples

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… and the EF 100-400mm f/4.5-5.6L IS II lens.

A few days ago I spent four days in the high Sierra making photographs. At the end of one evening I made a photograph that isn’t intended to have any particular aesthetic value, but which was intended as a test of something about my new camera, a Canon EOS 5Ds R.* So I pointed it up at the top of this nearby granite dome just as the last light washed over its summit.

The technical information about the photograph:

First, the resulting photograph — which is, I will be the first to admit, not a stunning example of photographic art!

Lembert Dome Sunset Watcher
A lone person watches the Sierra sunset from the summit of Lembert Dome

Next a crop from the same photograph showing a little surprise at the edge of the precipice. This is the same photograph, but this time a 100% magnification crop of a 600 x 450 pixel section. (You’ll have to click on the photos to see the 600 x 450 versions, since the design of this website slightly downsizes photos posted at that size.)

Lembert Dome Sunset Watcher (crop)
A lone person watches the Sierra sunset from the summit of Lembert Dome

If you are wondering where this guy is in the full image, he is just below the right summit of the peak, slightly to the left of the start of the large shadow.

I’ll share some other examples later that are better optimized to show the resolution potential of this camera — photographs using something closer to the diffraction-limited aperture, focal lengths not at the extreme long end, with a lens that has even better resolution potential, and with a subject that is not so far away. (The distance introduces atmospheric elements that reduce resolution.)

Not bad, I’d say.

Added later:  Someone asked how the 5Ds R handles the fine details of feathers. I’m sorry to say that I have not photographed birds yet — that is more of winter thing for me. However, while making landscape photographs this past week, deer wandered into several of my scenes and I went ahead and photographed them. The following 100% magnification crop (actual pixel size) was also made using the EOS 100-400 f/4.5-5.6L IS II at 400mm, f/5.6, IS and AF on, ISO 100. The critter was in shadow, and exposure has been pushed here roughly a full stop. (Click the image to see the original 600 x 450 pixel image — the version on this page is slightly downsized.)

Deer — 100% magnification crop at 600 x 450
5Ds R, EOS 100-400mm f/4.5-f.5L IS II @ 400mm, f/5.6, 1/200, ISO 100, AF and IS in us

And one more example, also a 100% magnification crop: Canon EOS 5Ds R, ISO 100, 1/13 second, f/8, EF 100-400mm f/4.5-5.6L IS II @ 105mm

100% Magnification Crop — 5Ds R & 100-400 v2 lens
Canon EOS 5Ds R, ISO 100, 1/13 second, f/8, EF 100-400mm f/4.5-f5.6L IS II lens @ 105mm

5Ds and 5Ds R Articles:

  • Links to the Canon EOS 5Ds and the Canon EOS 5Ds R in this article go to site-sponsor B&H photography with whom I have an affiliate relationship. When you purchase through these links your price is the same, but a small percentage is returned to help support this website.

Mentioned in this article:

© Copyright 2015 G Dan Mitchell – all rights reserved.

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.
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Equipment

Canon EOS 5DsR Quick Update

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If you are a Canon-using photographer you are almost certainly aware that Canon has released two new DSLR cameras in the 5D series, the 5DS and the 5DS R models. Both provide approximately 50 megapixels (MP) of sensor resolution along with some other improvements. The cameras seem to be an excellent next evolutionary step for Canon photographers who can use the additional resolution.

Canon EOS 5Ds DSLR
Canon EOS 5Ds DSLR

I have the 5DS R model and I’ve had the chance to photograph with it twice as of this date. I have been asked to share my thoughts on the camera, but it is still a bit too early for me to write a full report — I want to make more photographs with it and I want to make some very large prints from the files first. Meanwhile I can share a few things: Continue reading Canon EOS 5DsR Quick Update →

Equipment, Tests

New Canon 5DS R DSLR: A Printing Test

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(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:

  1. Open the Canon jpg file in Photoshop CC.
  2. Resize to 30″ x 45″ at 300 ppi
  3. 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.
  4. Apply my customary output sharpening for prints.
  5. 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:

G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
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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.