darbo wrote:
The only thing about the 5D III that I miss is the 22.3 MP resolution for stitched panos. Sometimes I like to stitch multi-row panos using my best lens (Otus 55mm). Doing so with the 5D III delivers more detail and optical excellence than my 11-24mm on the 5DS R. Of course I can still stitch 5DS R images, but sheesh that's a lot more pixels. Too much in my opinion.
Would that be a possible application for M-RAW on the 5DsR?
RustyBug wrote:
Would that be a possible application for M-RAW on the 5DsR?
Might well be. I seem to recall some image quality compromises with mraw (or sraw), but I haven't yet taken the time to dive in to see if those compromises would be relevant for a stitched pano. Need to do it. Thanks for the reminder!
Yes, that would be good to learn of. Will be watching for your assessment.
I'm thinking the longer FL provides better resolving capability than the UWA is capable of ... should be some degree of offset / gain to overcome the mraw "compromise" ... 5Ds mraw compromise being relative to 5DsR full raw vs. 5D III full raw.
I don't have any plans to go with the 11-24, sticking to the 16-35/4 or 24L TS-E and stitch for pano as needed with longer FL's of choice ... gaining resolution with both glass & pixels.
RustyBug wrote:
Yes, that would be good to learn of. Will be watching for your assessment.
I'm thinking the longer FL provides better resolving capability than the UWA is capable of ... should be some degree of offset / gain to overcome the mraw "compromise" ... 5Ds mraw compromise being relative to 5DsR full raw vs. 5D III full raw.
I don't have any plans to go with the 11-24, sticking to the 16-35/4 or 24L TS-E and stitch for pano as needed with longer FL's of choice ... gaining resolution with both glass & pixels.
The TS-E 24mm II is fantastic for single row panos (and it's wide enough that multi-row isn't needed). Great plan!
I just ordered myself a 16-35/4 because it is more filter-friendly and lighter weight. I used the 11-24mm on some architecture shoots and hated that I couldn't use it with a CPL (to kill glare off flooring, wood panels, etc.).
A great all-around landscape and townscape lens.
So, the 11-24mm will begin to be more of a niche/exotic lens for me and I may eventually sell it and revert back to my TS-E 17/ TS-E 24 II kit (which I had sold).
I think you'll like the 16-35/4 IS ... I got mine figuring I'll still have it until they come out with the 5DIV, V, VI, VII, VIII, IX and the 5DX.
Been piece-mealing the glass lineup for a while now and with the 16-35/4, 24 TS-E II and the 100-400L II finally in the bag, I've got my end points pretty well covered for me.
Can the 5Ds / 5DsR shoot raw on one card and mraw / sraw (instead of jpg) on the other?
dgdg wrote:
If I did weddings or special events, I can use the quiet mode on the 5D3, but 99% of the time I don't care. I loved the 5Ds obviously for the resolution, but the shutter speed reminded me of the 5D mark 1. Slow but certainly quite fun for large animals that don't flap their wings a lot.
Monito wrote:
Surely you mean to write shutter lag, not "speed" ! Actually, ... 5DS shutter lag is 59 ms, exactly the same as the 5D3 and better than the 5D2 (73 ms) and 5D classic (78 ms).
dgdg wrote:
Hmmm. Canon website says 5 vs 6 fps. Not sure why the 5ds seemed a slower when I rented it. Had a 1066x cf card in. Oh well. It still was a fabulbous camera for me.
Frame rate is not shutter lag is not "shutter speed".
RustyBug wrote:
Would that be a possible application for M-RAW on the 5DsR?
It would be, but as I wrote a few years ago, sRaw and mRaw does some things that really really limit its usefulness at least in my book, where you would be better off with a smaller camera and "proper" raw.
stanj wrote:
It would be, but as I wrote a few years ago, sRaw and mRaw does some things that really really limit its usefulness at least in my book, where you would be better off with a smaller camera and "proper" raw.
The perspective of using the "improper" raw would be in lieu of jpg for smaller processing, i.e. for web, sketch work at exploring multiple versions of PP, etc. ... while retaining the full raw should I decide to take it to print.
Currently, I shoot raw + small jpg. The diff being however that means I have a different starting point, and the PP that I apply to the jpg has little meaning relative to the raw. The theory would be that any work on the small raw would better reflect the work to be done on full raw (noting not exactly correct, but still better than jpg thumbnail drafts, backtracking on full raw).
Yes you found the problem Rusty...you corrected the green/yellow of the body of the first flying bird (an adult male Japanese Sparrowhawk), and the primary feathers (the long outer feathers) went to reddish...The true color of those feathers would be grey to blue...
This is exactly the problem I had with the 5D3 - you could correct for that green/yellow tint, but then a different color shift (towards red/magenta) would occur in other underexposed areas.
Okay, gotcha. I knew that I didn't know the correct colors for the species.
But, I'm still thinking this is an issue of the underside being "sky / fill" as the illuminant for the underbody. @ why / how you think the 5Ds(R) would do a better job of recording the lighting.
I'm not an avid birder, by any stretch, but it seems that the lighting coming through the more translucent feathers would reveal more of the warmer "top lighting" colors of illuminant than the denser opaque underside which could only receive cooler "bottom lighting" color ... i.e. a natural mixed lighting scenario.
Still not quite sure I understand what attribute of the 5Ds(R) you are attributing to the reason for the difference.
I own two 5D III and use them professionally for editorial photography. I have no intention of buying the 5DS/R, but just wanted to say I'm enjoying this reasoned discussion on the pros and cons of these cameras. Actually I'm holding out hopes for the sparkly unicorn of the 5D IV (X) whatever they call it.
I particularly like the additional DR. I am now doing mostly unblended images and pulling the shadow up. I sometimes have some noise which may or may not matter at print size, but I usually run sone NR in shadow or clear areas. The additional resolution more than makes up for the reduced detail.
It took me a while to get some shots worthy of printing, and now that I have a couple hanging on my walls, I can see the improvement. It is hard to define. At 16x24 it is hard to see more detail than the 5D3 or 1DS3 prints, but when you stand back, there is more to see, more gradation, or more 3D or something. At 16x29 the difference is even more obvious.
But my shooting and processing had to change as well. I am shooting tighter brackets, and mostly to allow a choice for processing. I shot wider brackets for the 5D3 because I almost always blended them. Maybe I could have done this with the 5D3, but the 5DS-R made me rethink the whole business.
The WB and color accuracy are also better and the exposure is almost good enough to quit bracketing altogether, but old habits die hard.
This is the best bird camera I have ever owned, mostly because of the increased pixel density. But the AF is so much better than the 1DS3 I used prior for this purpose.
darbo wrote:
2. Speaking of Mirror Lockup, Canon knocked it out of the park on that feature. With the 5D III, mirror lockup means hitting the shutter button once to move the mirror and hitting it again to take the picture. The 5DS / 5DS R now provide a more automated process where you select a preset delay (1/8, 1/4, 1/2, etc. second) so that when you hit the shutter button, it moves the mirror and takes the picture on the delay you pre-selected. Of course the 5D III's manual lock-up method is preserved as well. This feature is wonderful for maximizing sharpness with hand-held shooting.
Delayed shutter release w/MLU enabled allows for similar function on 5DIII (&II) for those of us not upgrading. I shutter click -> MLU -> delayed photo capture.
thedutt wrote:
Delayed shutter release w/MLU enabled allows for similar function on 5DIII (&II) for those of us not upgrading. I shutter click -> MLU -> delayed photo capture.
