When I left to meet Kevin K. and Tom M. for some photography before dawn last Monday, the sky was clear, the stars were shining and I didn’t think the sunrise would be very good. If I hadn’t been meeting friends, I might have gone back to bed! Looking at the photos in this post, it’s easy to see I was wrong – the sunrise was beautiful.
Observation 1: Go. You can’t always anticipate what you’ll see when you’re out photographing. But if you stay home, you know you won’t see anything.
Calm Blue Hour. 14mm (equivalent), ISO 64, f/5.6, 10 sec., Hi-res mode.
We ended up at Cocoa Riverfront Park. The clouds were moving in and the light and colors changed as we watched. There were several interesting directions to point the camera.
Observation 2: Arrive early and stay for a while when photographing sunrise. Watch all directions. Bring several lenses to vary your exposure, composition, and perspective. Work the scene!
Fire in the sky. 70mm (equivalent), ISO 200, f/5.6, 1/50 sec., multi-frame stitched panorama
Observation 3: My conclusions from the earlier post are all still true – except for one. I’m happy to report that with the E-M1 Mark II camera, Olympus has made a great deal of progress with hi-res mode. I didn’t have to fix any motion anomalies in either of these photos. Well done Olympus.
Dew on the Boardwalk. 14mm (equivalent), ISO 64, f/5.6, 8 sec., Hi-res mode.
Thank you for stopping by and reading my blog. Now, go make some photos!
Today I’d like to talk more about its high res mode and some things I’ve learned so far while working with it. I’ll use this recent image from the north bank of Haulover Canal in Merritt Island NWR for my example. By the way, please click on the photo, you’ll be able to see a higher resolution version on Flickr.
Daybreak at Haulover Canal
For those of you who aren’t interested in this particular camera or capability, here’s the tl;dr summary: Your capture and processing tools, technique, and skill make a difference in the resulting photo. But that’s true of every camera. And you already knew that, didn’t you?
Okay, for those of you that are interested, here’s some hints on how to get the best out of this mode.
I’ve found that the software I use makes a big difference in the detail that shows up in the file. I normally use Lightroom for all my photos, although I also have DxO Optics pro and I think it does a good job with higher ISO images. But I noticed issues when using either of them with the Olympus high-resolution files. Here are three 1:1 crops, processed in the three different software packages. These are just after importing from the RAW file, with (mostly) default processing, although I did adjust sharpening on the first two to try to improve detail.
Processed in Lightroom CC Version 2015.1.1
Processed in DxO Optics Pro 10 Version 10.4.2
Processed in Olympus High Res Shot Raw File Photoshop Plug-In
To my eye there’s no question: the Olympus software does a better job processing the High Res Raw file. The result is sharper, with more detail – so I’ve switched to using it instead of either Lightroom or DxO Optics Pro for initial input of the high res files. There are limited adjustments available with it, so after importing the file I usually add an Adobe Camera Raw adjustment layer in Photoshop to help fine tune the highlights, shadows, etc.
You can see artifacts on the water surface in the crops above. These are from the way the high res files are created. Each file is composed of 8 separate captures that the camera combines into the high res RAW output file. So any motion during capture will result in strange-looking distractions. If your camera is moving, the image will be unusable. So I use a sturdy tripod, a cable release and / or a shutter delay. If part of the scene is moving (like water, or wind-blown branches) you’ll see the distracting artifacts in that part of the frame. For some subjects (e.g. still life) this isn’t a problem – nothing moves. For landscapes, you’ll need a very calm day or you may want to remove the artifacts in post processing.
If they bother you, there are (at least) a couple of things you can try. Olympus also saves the first of the 8 frames that it uses to create the RAW file. You can open this, up-res it, and mask it into the high res version wherever there are artifacts you want to remove. (Note that you’ll have to rename the normal res file – your software probably won’t recognize the .ORI extension). And you’ll have carefully process the normal and high res files exactly the same up until the point where you do this so that any color or brightness difference doesn’t show. And finally, you’ll have to recognize that wherever you do this, the resolution will suffer.
For water surfaces, you can also try applying a motion blur in Photoshop and masking it in to hide the artifacts. That was easy to do in this photo, since it was a relatively long exposure (1/2 sec.) and the water surface was calm. Here’s a before and after 1:1 comparison:
Motion Artifacts – prior to removal
Motion Artifacts – masked out using a motion blur layer in Photoshop
Olympus outputs 64 Mega Pixel RAW files. Olympus themselves say there’s not 64MP of information in the file. It’s more like 40MP, so they downsize their JPG files to 40MP. When using this mode keep that in mind.
There’s not too much else to worry about, although I have seen some things that look like “hot pixels” in the high res images (2 or less per file). I’m not sure if that’s what they are and I also don’t see them in normal res files from the camera. But they are pretty easy to remove with the Healing Brush in Lightroom. By the way, If anyone else has seen these, I’d be interested in hearing from you.
High Res “Hot Pixel”
So, the E-M5 Mark II High Res mode:
Is most suitable for still life types of images when the camera is mounted on a tripod and nothing is moving.
Is best processed from RAW by the Olympus High Res Shot Raw File Photoshop Plug-In – at least with current (August 2015) versions of software.
Offers better resolution and improved color and noise characteristics than the normal mode images.
Can be used in other situations (e.g. landscapes), but unless the subject is still, you’ll need to deal with motion artifacts.
Provides the greatest benefit with better lenses. Lower quality glass could compromise the output resolution of the system.
If you capture images in high res mode and the artifacts are too difficult to deal with, you can always drop back and use the normal resolution file. The results will be almost as good for anything except large prints (or pixel peeping).
Have you used a capability like this? What have you discovered?
Thanks for stopping by and reading my blog. Now – go make some photos!