Those are great shots. Especially the first one. I agree with Hatch the colors are very vibrant. Are the star bursts native to the lens or an effect added in post?
The performance of the 11-24mm at 50.6 MP is very pleasing - seems to hold up very well. No wonder Canon unveiled the 11-24mm at the same time as the 5DS & 5DS R.
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ggreene wrote:
Those are great shots. Especially the first one. I agree with Hatch the colors are very vibrant. Are the star bursts native to the lens or an effect added in post?
Thank you! The star bursts are indeed the actual captures from the lens (each images was captured @ f/11). Some noise reduction was performed in the sky on one or two of these and I fear some of the crispness of the star bursts may have been damaged slightly with the NR.
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I was reviewing and reflecting on some of my previous evening captures with the 5D III from this district and the dynamic range improvement with the 5DS (over the 5D III) is quite noticeable and very much appreciated.
darbo wrote:
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The performance of the 11-24mm at 50.6 MP is very pleasing - seems to hold up very well. No wonder Canon unveiled the 11-24mm at the same time as the 5DS & 5DS R.
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Your shots made my mind switching from TSE17 to 11-24, I'm now using Samyang 14/2.8, C/Y Distagon 18/4 (can be used in 1Dx only, the rear lens element have interference with the 5D's mirror), AIS20/2.8, TSE24LII, EF24-70/2.8LII for landscape on 1Dx and 5DsR (I always take both for the fast changing dawn shots). So you can see either of TSE17 or 11-24 can full fill my line up and now I tend to 11-22
People is talking about the 5Ds/R color, to me, the color is real and pleasing when compare to what I can see through the OVF. I can pull out the color and tone from the file easily in Lightroom.
KKFung wrote:
Your shots made my mind switching from TSE17 to 11-24, I'm now using Samyang 14/2.8, C/Y Distagon 18/4 (can be used in 1Dx only, the rear lens element have interference with the 5D's mirror), AIS20/2.8, TSE24LII, EF24-70/2.8LII for landscape on 1Dx and 5DsR (I always take both for the fast changing dawn shots). So you can see either of TSE17 or 11-24 can full fill my line up and now I tend to 11-22
A couple comments on that:
1. I sold my TS-E 24mm II and TS-E 17mm to fund the 11-24mm. It is a bit of a risk, because I have relied on the two tilt-shifts as essential gear for my architectural photography since 2010 . However, the resolution of the 5DS helps me use the 11-24mm in a way that compensates for the lack of the TS-Es.
The TS-E 17mm has an 11mm image circle, so an architectural subject can be framed with a leveled 11-24mm (for verticals) and cropped in post as needed. At worst I may end up with an image of an equivalent resolution as captured with a TS-E 17mm on a 5D III with maximum shift. That, I hope will suffice. And my 11-24mm seems sharper - or at least as sharp - as the TS-E 17mm. So, the 5DS is actually integral to my goal of replacing the two TS-Es with the one 11-24mm.
It was critical for this plan that - at the pixel level - the image quality of the 5DS be as good as the 5D III. And that appears to be the case. If I crop a 5DS image to match the 5D III's 22 MP resolution, the image quality appears to be as good or better than an uncropped 5D III image (there isn't more noise, less detail, etc.).
No doubt, I will miss having the TS-Es - it's better to have them along with the 11-24! And, certainly with respect to only architectural photography the TS-Es are better to have/use than the 11-24mm. But, I do not mind compromising somewhat to gain the greater flexibility offered by the 11-24mm zoom and, so far, have not experienced regret. The 11-24mm is a more generally-useful and exciting lens for me.
2. It took two tries to get a great copy of the 11-24mm. The first one must have been de-centered. It was blurry in places it shouldn't have been. I returned it feeling somewhat dissatisfied with the 11-24mm and was just going to stick with my TS-Es. But, a month later I decided to give the 11-24mm one more try. This second copy instantly impressed and amazed me. None of the weird blurriness I was getting with the first copy. Anyway, I just mention that in case you get a copy that doesn't seem as sharp as you expect.
1. I sold my TS-E 24mm II and TS-E 17mm to fund the 11-24mm. It is a bit of a risk, because I have relied on the two tilt-shifts as essential gear for my architectural photography since 2010 . However, the resolution of the 5DS helps me use the 11-24mm in a way that compensates for the lack of the TS-Es.
The TS-E 17mm has an 11mm image circle, so an architectural subject can be framed with a leveled 11-24mm (for verticals) and cropped in post as needed. At worst I may end up with an image of an equivalent resolution as captured with a TS-E 17mm on a 5D III with maximum shift. That, I hope will suffice. And my 11-24mm seems sharper - or at least as sharp - as the TS-E 17mm. So, the 5DS is actually integral to my goal of replacing the two TS-Es with the one 11-24mm.
It was critical for this plan that - at the pixel level - the image quality of the 5DS be as good as the 5D III. And that appears to be the case. If I crop a 5DS image to match the 5D III's 22 MP resolution, the image quality appears to be as good or better than an uncropped 5D III image (there isn't more noise, less detail, etc.).
No doubt, I will miss having the TS-Es - it's better to have them along with the 11-24! And, certainly with respect to only architectural photography the TS-Es are better to have/use than the 11-24mm. But, I do not mind compromising somewhat to gain the greater flexibility offered by the 11-24mm zoom and, so far, have not experienced regret. The 11-24mm is a more generally-useful and exciting lens for me.
2. It took two tries to get a great copy of the 11-24mm. The first one must have been de-centered. It was blurry in places it shouldn't have been. I returned it feeling somewhat dissatisfied with the 11-24mm and was just going to stick with my TS-Es. But, a month later I decided to give the 11-24mm one more try. This second copy instantly impressed and amazed me. None of the weird blurriness I was getting with the first copy. Anyway, I just mention that in case you get a copy that doesn't seem as sharp as you expect. ...Show more →
I have had similar thoughts but have not sold my 17TSE yet. The big advantage for me is AF, I have a less than 100% focus hit rate with the 17TSE in landscape use. But I have noticed, the 17TSE has better CA than the 11-24, otherwise I have a hard time seeing any sharpness difference, other than the 11-24 has a near 100% hit rate for focus compared to the 17TSe which is mush less for me. By the way, both need to be stopped down to f11 and focused off center to get well focused edges.
ben egbert wrote:
I have had similar thoughts but have not sold my 17TSE yet. The big advantage for me is AF, I have a less than 100% focus hit rate with the 17TSE in landscape use. But I have noticed, the 17TSE has better CA than the 11-24, otherwise I have a hard time seeing any sharpness difference, other than the 11-24 has a near 100% hit rate for focus compared to the 17TSe which is mush less for me. By the way, both need to be stopped down to f11 and focused off center to get well focused edges.
I have grown to hate chasing down all the little lens flares the TS-E 17mm produces from every point light source. They're typically small and generally easy to clean up. But, when doing some interior architecture shoots and having to clean up a dozen or so flares in each of a dozen photos I start to get very annoyed. The 11-24mm is remarkably flare resistant and requires minimal clean-up.
Thus far I have made no special efforts towards focusing the 11-24mm and the edges have seemed impressively sharp to me. But, my standards may be too low. I focus via Live View zoomed in 16x and don't use AF except for casual walk-around photography.
darbo wrote:
I have grown to hate chasing down all the little lens flares the TS-E 17mm produces from every point light source. They're typically small and generally easy to clean up. But, when doing some interior architecture shoots and having to clean up a dozen or so flares in each of a dozen photos I start to get very annoyed. The 11-24mm is remarkably flare resistant and requires minimal clean-up.
Thus far I have made no special efforts towards focusing the 11-24mm and the edges have seemed impressively sharp to me. But, my standards may be too low. I focus via Live View zoomed in 16x and don't use AF except for casual walk-around photography. ...Show more →
You are correct, the 11-24 has better flare resistance. Also, your eyes are probably sharper than mine so manual focus probably works great for you. So far, I can't beat live view AF with manual focus. In fact, I can see the distance dial at a different place from one MF to MF, but it never varies in live view AF. It also varies in normal AF.
1. I sold my TS-E 24mm II and TS-E 17mm to fund the 11-24mm. It is a bit of a risk, because I have relied on the two tilt-shifts as essential gear for my architectural photography since 2010 . However, the resolution of the 5DS helps me use the 11-24mm in a way that compensates for the lack of the TS-Es.
The TS-E 17mm has an 11mm image circle, so an architectural subject can be framed with a leveled 11-24mm (for verticals) and cropped in post as needed. At worst I may end up with an image of an equivalent resolution as captured with a TS-E 17mm on a 5D III with maximum shift. That, I hope will suffice. And my 11-24mm seems sharper - or at least as sharp - as the TS-E 17mm. So, the 5DS is actually integral to my goal of replacing the two TS-Es with the one 11-24mm.
It was critical for this plan that - at the pixel level - the image quality of the 5DS be as good as the 5D III. And that appears to be the case. If I crop a 5DS image to match the 5D III's 22 MP resolution, the image quality appears to be as good or better than an uncropped 5D III image (there isn't more noise, less detail, etc.).
No doubt, I will miss having the TS-Es - it's better to have them along with the 11-24! And, certainly with respect to only architectural photography the TS-Es are better to have/use than the 11-24mm. But, I do not mind compromising somewhat to gain the greater flexibility offered by the 11-24mm zoom and, so far, have not experienced regret. The 11-24mm is a more generally-useful and exciting lens for me.
2. It took two tries to get a great copy of the 11-24mm. The first one must have been de-centered. It was blurry in places it shouldn't have been. I returned it feeling somewhat dissatisfied with the 11-24mm and was just going to stick with my TS-Es. But, a month later I decided to give the 11-24mm one more try. This second copy instantly impressed and amazed me. None of the weird blurriness I was getting with the first copy. Anyway, I just mention that in case you get a copy that doesn't seem as sharp as you expect. ...Show more →
Many thanks Darbo, especially the 2nd point. 1124 have auto focus so the chance to use 1124 over the TSE17 will be much more and to me I seldom shoot architecture so the 1124 may be more suitable for me
Paul Gardner wrote:
I contacted Xrite about the Passport Checker memory problem and they advised that we shoot the passport image with the 5DS in the smode as a work around until they get the problem fixed.
I tried building a profile from RAW (not sRAW or mRAW) using the Adobe DNG Profile Editor and didn't run into any memory issues.
Are the profiles from this much different from the CCP from those who have done both?
A shot from this afternoon. I purchased 3 of the Yongnuo speedlights and the controller. I still need a lot of practice with the setup... but.. I was able to capture a few decent images. This one all but froze the hummer in air.
Folks, I tried to have 12 5DsR shots in tiff file stitching in CS5 "automate" and failed due to file size (4G) exceed the limit, then I scale down the tiff file to 18MP (like the size of 1Dx) then it works. My question is - is CS5 have this limit to handle file size bigger than 4G? Will the new version CS6 or CC have no issue on it?
Here is the stitched photo from down sized each unstitch tiff from 50MP to 18MP
Thats a gorgeous image and the stitching is great. I have to ask why so many? I usually only stitch when I don't have a wide enough lens. What FL was this?
ben egbert wrote:
Thats a gorgeous image and the stitching is great. I have to ask why so many? I usually only stitch when I don't have a wide enough lens. What FL was this?
This one is about 35mm, I tried to pick out some shots, from 12 to 8 etc, still not success.
Shooting high resolution (which includes stitching) allows for cropping later to taste. So shoot the 5DS/R a little wider than we might normally and when in doubt shoot extra panels. With room to spare, you can make perspective changes in software to correct tilt-back and plain old tilt (unlevel horizon). You can shoot more grab shots and fine tune later.
