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If only you had 247 MP... What could you have done?
- Thread starter rdeloe
- Start date
cunim
Well-known member
Yes they do and that is why we use motorized tiling systems to create large images from many small ones. I would love to build a research system around a 300MP MF camera. For my photography hobby, maybe not as useful
Shashin
Well-known member
If I had a 247MP, the first thing I would do is buy bigger memory cards...
I don't think I have a single image that could be made better with simply more resolution. Even low resolution image would not be "improved" because the lower resolution is part of the quality of the image. Thinking a bit more, I guess I always shot that way. I optimized my system to produce the best results it could and used the limitations to its advantage aesthetically. This was more true in film where I would change among 35mm, medium format, and large format for those particular qualities. I guess digital has narrowed that difference among formats to where you need to start hitting extremes to really tell the difference. 60" is about as big as I print and I can't even think 247MP would give me any advantage over 40MP.
I don't think I have a single image that could be made better with simply more resolution. Even low resolution image would not be "improved" because the lower resolution is part of the quality of the image. Thinking a bit more, I guess I always shot that way. I optimized my system to produce the best results it could and used the limitations to its advantage aesthetically. This was more true in film where I would change among 35mm, medium format, and large format for those particular qualities. I guess digital has narrowed that difference among formats to where you need to start hitting extremes to really tell the difference. 60" is about as big as I print and I can't even think 247MP would give me any advantage over 40MP.
Paul Spinnler
Well-known member
You can shoot with the 23-40 HR lenses and crop and this way achieve a great composition in post. In fact, the 35 HR or 40 HR would be ideal walkaround lenses with enormous room to crop on that sensor. You crop to 100 MPX and you'll still have 35 in 35mm terms.
It makes a difference if the resulting image is 50mpx or 150mpx after a strong crop operation, especially if you want to print larger.
Crop to compose is amazing.
Doppler9000
Active member
Thank you - that makes sense.
How much of a trade-off would it be to use a smaller sensor and move both the lens and the camera for the tiling?
Shashin
Well-known member
Well, cropping does have limitation because of projection. If you crop on a corner or edge, the image can look odd as the optical center and viewer's center are off.
Personally, I have always preferred composing in the camera. I just need that focus when I work. Not to say that is not a good way to work. I just think I would get lazy as I would just snap the shot and figure it out later...
rdeloe
Well-known member
You and me both! If I have to crop an image, it's because I made a mistake while composing.
Paul Spinnler
Well-known member
It’s not about mistaking the composition with 250 megapixels. What I am saying is that you can walk around with a wide angle and then crop - meaning the megapixels give you the flexibility to go with one focal length when travelling for example.
I have come to appreciate compactness and one lens setups w/o need for tripods as an ideal way to travel. Ie although I own all lenses on the S platform I recently started to try to just bring along the 35mm and it is liberating in a way.
Shooting on a tripod with one favorite focal length is another approach, which ofc also has its place. This said, I imagine enormous libert from a compact 23-40mm setup with the new IQ back.
The 23 becomes very flexible when you can crop as much as you want and still have 50-100 megapixels worst case.
to Pauls point... there's some freedom in putting a simple focal length like a 35mm on an M10/M11x camera body and going for a walk and seeing what's out there...
rdeloe
Well-known member
Sure, that's one way to work. It's not mine though. I compose for the whole frame, and crop only if I made an error in my composition.
I have no interest in shooting a wide angle frame with lots of MP and then looking for a photograph. There's nothing inherently wrong with working that way. It's just not something I would do.
rdeloe
Well-known member
Indeed, and I do that occasionally. But I almost never come back with something I want to keep! The problem is definitely me.
I need my tripod, and I always miss movements when I don't have them.did that a couple weeks ago too. Had the tripod though. Nothing worth printing or keeping.Indeed, and I do that occasionally. But I almost never come back with something I want to keep! The problem is definitely me.
Check this out. 260mp image with a 35mm FF body and a Cambo Actus.
260mb stitch
260mb stitch
Paul Spinnler
Well-known member
To explain further - there's a beauty in reduction and as the sensor becomes so high resolving and camera become more compact you might approach the concept of the ultimate MF "Q" camera.
Let's imagine for a second that the new IQ5 and mirrorless body are similarly compact than a TC, but finally sport a new EVF and and new AF lenses. The difference vs. the XT is that they have less shift, no tilt, etc.
So the new MF camera from Phase would be a camera that's compact, can be shot like the Fujis and Hassy's but is modular with the ability to slap it onto an Alpa or XT with all the benefits of stitching, movements and tilt.
Honestly - I am getting super excited about a modular mirrorless from P1 with huge EVF and available in mono and colour .... just slap a 40mm on it and you have truly the ultimate one lens camera.
And now to the reduction point - opportunity to shoot is more important than perfect lens choice or camera setup; ie with high resolution and ability to crop and keystone correct in post the huge advantage of such a 250 megapixel system is that precisely you don't need to bring along 5 lenses nor a tripod and as a result can be extremely nimble and fast on location - which can make a huge difference in terms of logistics. I'd take the new IQ5 XM 250-300 a lot more easily on a trip to a remote location than a full blown tripod tech cam kit, although the latter also has its raison d'etre. With higher megapixels and crop to compose it becomes less important though to use a tech cam as you can just do anything in post and still have 150 MPX ...
250-300 megapixels essentially means - shoot it and fix it later. Boom. Next shot. Boom. As time passes, you'll love to have just this one uber powerful mirrorless camera. Every large file becomes this canvas that you really can work on in post. Rotate, perspective correct, crop - boom still 120 megapixels, still printable 5 feet ...
Great times for P1 customers - it'll be the new benchmark system and if there's an EVF to a P1 back that's modular - count me in. A mirrorless system with detachable back - best of both worlds ... mono and colour ... compatible with XF, XM, XT, Alpa ...
Let's imagine for a second that the new IQ5 and mirrorless body are similarly compact than a TC, but finally sport a new EVF and and new AF lenses. The difference vs. the XT is that they have less shift, no tilt, etc.
So the new MF camera from Phase would be a camera that's compact, can be shot like the Fujis and Hassy's but is modular with the ability to slap it onto an Alpa or XT with all the benefits of stitching, movements and tilt.
Honestly - I am getting super excited about a modular mirrorless from P1 with huge EVF and available in mono and colour .... just slap a 40mm on it and you have truly the ultimate one lens camera.
And now to the reduction point - opportunity to shoot is more important than perfect lens choice or camera setup; ie with high resolution and ability to crop and keystone correct in post the huge advantage of such a 250 megapixel system is that precisely you don't need to bring along 5 lenses nor a tripod and as a result can be extremely nimble and fast on location - which can make a huge difference in terms of logistics. I'd take the new IQ5 XM 250-300 a lot more easily on a trip to a remote location than a full blown tripod tech cam kit, although the latter also has its raison d'etre. With higher megapixels and crop to compose it becomes less important though to use a tech cam as you can just do anything in post and still have 150 MPX ...
250-300 megapixels essentially means - shoot it and fix it later. Boom. Next shot. Boom. As time passes, you'll love to have just this one uber powerful mirrorless camera. Every large file becomes this canvas that you really can work on in post. Rotate, perspective correct, crop - boom still 120 megapixels, still printable 5 feet ...
Great times for P1 customers - it'll be the new benchmark system and if there's an EVF to a P1 back that's modular - count me in. A mirrorless system with detachable back - best of both worlds ... mono and colour ... compatible with XF, XM, XT, Alpa ...
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We are finally getting to that point in time where what we saw on CSI:Miami is true. When they zoom in on the CCTV footage and click "unsharp masking" to make the image clearer...
(actually saw that years ago on an episode and had to explain to my spouse why USM wasn't the appropriate filter for them to use – I have a prepress background)
(actually saw that years ago on an episode and had to explain to my spouse why USM wasn't the appropriate filter for them to use – I have a prepress background)
Paul Spinnler
Well-known member
Well I am also curious about the IQ5s ability to be used to "spy" with a 138 HR. I am sure if you are in an opposite building you'll be ablte to read what someone is doing on their pc
LOL, back in the early 90's I was using an 8" Celestron and was able to see what was on someone's tv a couple blocks away.
Shashin
Well-known member
I can certainly see the attraction. Personally, it would be too much for me to process while shooting. I really could not visualize the result as the depth of field and apparent perspective would be hard to visualize. It would be like shooting with a zoom lens where the final field of view is unknown.
Sort of reminds me of walking around with a high res movie camera and grabbing a frame into PS if anything looks interesting on further review.
rdeloe
Well-known member
A couple years ago I tried this technique because I wanted to give a lens designed for 6x8 a chance to be in front of a 6x8 sensor again. This required assembling 9 flat stitched images. I was using a GFX 50R at the time. I like the result, but the process was awkward and required a couple attempts.
Are you getting a "medium format look" vibe?
Because this is actual factual medium format -- what a 6x8 digital sensor would produce.