Backlight landscape photography realized - say no to silhouette

[thrice]

Very interesting..I like to print at around 34"x36" and 37.5MP is more than adequate at this size although for fabrics and other high frequency details a little extra would be nice.

What do you think is the ideal pixel pitch?+-5um might be just right..

Rob

5µm is good for down to f/11. I wouldn't want to go much smaller for landscape. Ideal also depends on technology, who knows what they might come up with to overcome the limitations that currently exist.

 

[torger]

Its gonna be a sad day when all high end cameras/backs use similar Sony CMOS Sensors even if they are different sizes. Imagine if back in the day there was only one film available.

Dalsa has been pretty dominant in recent years, but I guess they're very much on the way out now. I too think it's sad if Sony gets the new monopoly, but more for the industry, competition etc, I'm not worried concerning the look. 10% of the look sits in the sensor, 90% in the profile. Want your own look, make your own profile and combine it with your own post-processing techniques.

Everyone using the same raw converter with the same manufacturer defaults is a lot more equalizing concerning look than using the same sensor.

 

[chkproductions]

I hope this is not off topic but after reading through the very informative contributions of this thread my question is - Where does all this increase in DR, bits of info collected by a sensor, and the ability to lift shadows leave color rendition? Are we seeing more accurate color (with CMOS vs. CCD), more hues within a given color, and better seamless transition between the multitude of hues of a given color based on the intensity of light falling on it or the actual variation of color hue in an object?

I hope my question in clear enough to answer - it's not quite clear to me.

Cheers

chk

 

[algrove]

Any idea of the pixel pitch on the 645Z?

 

[thrice]

I hope this is not off topic but after reading through the very informative contributions of this thread my question is - Where does all this increase in DR, bits of info collected by a sensor, and the ability to lift shadows leave color rendition? Are we seeing more accurate color (with CMOS vs. CCD), more hues within a given color, and better seamless transition between the multitude of hues of a given color based on the intensity of light falling on it or the actual variation of color hue in an object?

I hope my question in clear enough to answer - it's not quite clear to me.

Cheers

chk

Essentially the sensor architecture be it CMOS or CCD has little effect on colour. What will affect colour are 3 things:

1. The CFA (colour filter array) this determines how spectrally 'strict' the red/green/blue filtration over the pixels is. The stricter it is the better the metamerism (definition of colours and tones) - typically.

2. The image processing by the camera before writing the 'RAW' file. Also the interpretation of the RAW file by the interpolating software.

3. The IR filter/hot mirror. This primarily affects greens, a stronger filter means better greens and colours in general but usually at the expense of some extra light that could add an extra stop of 'sensitivity' to the sensor.

 

[thrice]

Any idea of the pixel pitch on the 645Z?

5.31µm so your diffraction limit is around f/8.0 but shouldn't see much softening going to f/11

 

[RVB]

5.31µm so your diffraction limit is around f/8.0 but shouldn't see much softening going to f/11

Sounds like the right pitch for the S sensor,f8 is very good and they seem to show diffraction after that...

 

[chkproductions]

Essentially the sensor architecture be it CMOS or CCD has little effect on colour. What will affect colour are 3 things:

1. The CFA (colour filter array) this determines how spectrally 'strict' the red/green/blue filtration over the pixels is. The stricter it is the better the metamerism (definition of colours and tones) - typically.

2. The image processing by the camera before writing the 'RAW' file. Also the interpretation of the RAW file by the interpolating software.

3. The IR filter/hot mirror. This primarily affects greens, a stronger filter means better greens and colours in general but usually at the expense of some extra light that could add an extra stop of 'sensitivity' to the sensor.

thrice - thank you very much for your response and information. It does help give me a clearer idea of what effects what.

Cheers

chk

 

[Pradeep]

Hi Rob,


FYI the IQ180 hits a diffraction limit at f/8.0, short of digital trickery (Sony have an algorithm they use to try and overcome diffraction) or theoretical negative refractive index materials there is no way around this. No lens will get sharper from f/8.0 to f/11 on a 5.2µm pixel pitch at the pixel level within the plane of sharpness.

The dealer who sold me the IQ180 was quite sure there was no problem even at f16, in fact he suggested I could easily go to f22 for increased DOF given the 'large sensor'. This was one of the major selling points he was pointing out since obviously the DOF would be shallower on an MF sensor.

And pardon my ignorance, but isn't diffraction also lens dependent?

Hmm......

 

[voidshatter]

For those who are interested in the "color cast issues" in shadow push, here are the IQ250 RAW files shot against a color check passport: https://www.dropbox.com/sh/fgircd45mbjf62r/AAC2evO6UQMAOxmQpLccyzmfa?dl=0

 

[archivue]

a)
Below shows the official sample image from Canon for the 5DS and the 17mm TS-E lens

but now the nikon 19 PC-E is available... and D800/810 sensors (sony) are not bad at all... better than canon's in my opinion.

 

[voidshatter]

but now the nikon 19 PC-E is available... and D800/810 sensors (sony) are not bad at all... better than canon's in my opinion.

I'm still waiting for someone to compare the 17mm TS-E against the 19mm PC-E, which needs to be done on the same A7R-II (or whatever the same digital back)! As far as I'm aware, no adapter fully supports the 19mm PC-E yet, and one needs to use the DoF preview of a Nikon camera body and pulling out the battery to set the 19mm to a certain aperture before it can be adapted.