Archive 2022 · 20 Year Monsoon

Ross Martin
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p.2 #1 · p.2 #1 · 20 Year Monsoon

Mark, in a region where scenery and resulting photographs are usually grand but also convey a sense of the stark and harsh, your image here speaks life and gentle beauty. I love it.

It sounds like you have mastered large printing from fullframe sensors without needing the highest resolution cameras - I would love to see these prints in person, and hope I can get into the Nevada gallery on my next Southwest road trip. How large are you able to go from roughly 45mp files and have the print still hold up to close scrutiny? Most prints look good from the appropriate viewing distance, but I also love to get in closer and soak up details, and that’s where differences in quality reveal themselves.

I’d love to go 50” wide from my 45mp Nikon files but haven’t tried it yet, and I realize your workflow techniques are why you are able to print big (I think I read you have done 70” from the the A7R2?). Most of my current printing is 22 x 17 on Canson fine art papers which is the look I love for my own work (a hint of the painterly), and the largest I have done from a digital file is 40” x 30” on canvas from a 40mp sensor (Pentax 645D).

I voted :-)

Cheers,
Ross

Sep 13, 2022 at 10:23 AM

fpervez
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p.2 #2 · p.2 #2 · 20 Year Monsoon

Amazing - the framing is fantastic, and good grief, what an image

Sep 13, 2022 at 11:10 AM

Mark Metternich
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p.2 #3 · p.2 #3 · 20 Year Monsoon

Ross Martin wrote:
Mark, in a region where scenery and resulting photographs are usually grand but also convey a sense of the stark and harsh, your image here speaks life and gentle beauty. I love it.

It sounds like you have mastered large printing from full frame sensors without needing the highest resolution cameras - I would love to see these prints in person, and hope I can get into the Nevada gallery on my next Southwest road trip.

How large are you able to go from roughly 45mp files and have the print still hold up to close scrutiny?

Most prints look...Show more →

Hi Ross. A very gratuitous thank you! And thank you for the vote! 🙏🏼

Well, your questions here definitely open up a ton of things. I could see why the next might sound arrogant to some, but I only know of one person able to get the phenomenal quality at all sizes including HUGE (ten foot and larger) as myself, and that person would be Robert B Park of Nevada Art Printers. He is literally the print guru of gurus in the industry today. You can check out what he has done, or some of what I have done with between LESS THAN 1 MP and maybe 10PM, on my Youtube Page (Youtube, then punch in my name or Mark Metternich Photography, LLC). Here are 4 video titles you might want to check out there:

• 10 MEGAPIXELS TO 10 FOOT PRINT! (see photo attached of this image)
This was something around 10MP (cropped out of a single shot from an older camera system, not the best lens, hand held (with a bit of motion blur) not the best ISO. I literally had to invent techniques to make it a HD quality 60” x 120” Lumachrome HD. Unusually laborious, that one took me a week, but it was incredible! You can view it close up!

• LESS THAN 1 MEGAPIXEL to a quality 74 INCH PRINT!
HOW Robert did that one is totally unbelievable!

• CRAZY SHARPENING FIX! (6 BLURRY megapixels to WOW!)

• 80 inch Lumachrome from under 10 megapixels!

One of our students (who had only done just a couple Skype lessons) in our last March workshop produced the sharpest most detailed 7 foot image my eyes have ever seen in my life! And I have seen a great many of the world renown “best” printers, of all formats (8X10, 4X5, Hblad, Phase, and so forth…). None of the techniques we use and teach that are the true game changers (and I mean NONE) are some simple push button conventional, or AI software like Gigapixel, Adobe Super Resolution, OnOne AI Resize… or using methods commonly known by print masters.

Not with the intent to plug our “The Ultimate Mastering Fine Art Printmaking Workshop” workshop in Vegas, but we literally have guaranteed it (5-6 years straight) the most complete, comprehensive and most cutting edge in the entire photo industry (with about two dozen - completely unique and proprietary - non disclosure agreement - techniques that either I have invented, Robert has invented, or we both have put our heads together mutually) that are TOTAL GAME CHANGERS in what is currently possible in the industry. The bottom line is that we both have this really bizarre obsession with pushing the boundaries of the cutting edge daily, and we both have a very unusual, more than full time, job of doing nothing but this (pushing boundaries, innovating, and constant testing… 5 - 7 days a week - for me when I am not on the road - month after month, year after year, for well over a decade for me and over 2 for Robert) working for some of the very highest end nature/landscape/art galleries nationally and internationally. Nothing puts the pressure (good) on a person like that, and nothing can beat the 10,000/20,000 hour rule when combined with huge passion and the constant obsession to keep pioneering, innovating, experimenting and testing.

After that very LONG disclaimer, here are some answers and quick points:

I do not currently have my work displayed at Nevada Art Printers, and there you will see a variety of work because it can be Roberts older work, newer work, or all kinds of clients work (and Robert has to work on whatever people send him).

BTW, I do not work for Robert (I work for myself) but clients have simply found me over the years (never advertised) and what works the very best is when we can get into a little training of our clients, so that they are giving us the best possible quality, so that their images can be as best as possible.

When I do the workshop, I can bring or have my work printed and shown there. I usually don't have much time for my own work, because I am on strict deadlines for others constantly. But when I do!

In fact I have a project to attempt the most detailed and sharpest 60x120 in the world. It is going to take me a year for sure. If it goes as planned, when that is done, I’ll tell everyone where it can be seen.

I routinely have been doing and do plenty of 45MP or less images for clients, for all the sizes they want.

Some of my biggest clients want (or have wanted) at the long end a 120”, 90”, 80”, 72”, 60”, 45” or 50”, 36”, 24”, 18”, 12” postcard, magnet, web image, magazine CMYK image, and maybe even a postage stamp (the postage stamp is the only joke here…).

The BIGGEST I have done have been about 14+ foot.

A few months back I did 3 - 120” images for another client all form 45 or less MP. They had to be top class. Viewable close up and look AWESOME. They turned out incredible.

So, in some ways the sky's the limit. But when people shoot correctly for print (maximum exposure pulled down - NOT shooting for the highlights - but shot way "to the right"), maybe using a linear profile, use great glass and best f/stop, and lowest ISO (or ISO expansion low) and maybe even a totally lossless Raw Layer workflow (I have been advocating for, for years) then it is a total treat to make these huge world class images.

When they do not use excellent shooting/processing practices (and many don't) then some of it is still possible, but with a lot more labor, heavier lifting required.

I’d rather have a 24 or 36MP (or less) image exposed maximally, exposure pulled way down in post (maybe even a Linear Profile used) not sharpened at all (no Adobe default sharpening either!!!) no “clarity or texture” applied in Lightroom, shot lowest ISO with good/great glass and near or at the best f/stop for the lens, than a much higher MP file not shot best for print, any day!

Any more info, just email me… I’m back on the road for a couple of weeks as of Friday, so I apologize in advance if my communications are delayed.

10MP to a 120" Lumachrome HD Fine Art Gallery Print

Sep 14, 2022 at 03:10 PM

Ronny Olsson
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p.2 #4 · p.2 #4 · 20 Year Monsoon

Just a fantastic shot Mark !

Ronny

Sep 15, 2022 at 01:02 PM

Majestictone
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p.2 #5 · p.2 #5 · 20 Year Monsoon

Exceptional Capture Mark... A7R2 user myself as well and I keep hearing quite amazing things about the S1R

Sep 15, 2022 at 03:26 PM

Mark Metternich
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p.2 #6 · p.2 #6 · 20 Year Monsoon

Majestictone wrote:
Exceptional Capture Mark... A7R2 user myself as well and I keep hearing quite amazing things about the S1R

Here is 6 inches of a 50 inch print file, a Sony A7R2 VS Sony A7R4 test file both shot with the Sony 70-200 f/4 at f/8, 1/200th of a second, 100 ISO, 200mm, and BOTH files were sized up using very basic methods and a touch of High Pass sharpening was added to the point where they looked relatively sharp but just shy of significant artifacting (this is not how I would size and sharpen them, but done just for the test).

This is not a perfect or conclusive test, but I have many, many more. What it, like the others, clearly shows to me is that unless we have some new breakthrough in glass quality, we are NOT giving the Sony A7R4 anywhere near 60 true megapixels of quality photons via our lens limitations. I have this test done with the best of lenses too, and I am still not impressed with the A7R4. I'll never buy one. Again, that is NOT to say that a beautiful print can not be had with the camera! But better, and easier enlargements can be made with other systems.

Another, better test, not shown here, is how the A7R3 BEATS the A7R4 clearly with great glass. The A7R4 produces bigger files, but when put to the test they rarely hold slightly more detail than about 42MP. They also have more noise! This is the biggest obstacle in pixel quality and enlargement capability. Noise has to be reduced (various types of blurring) to allow ideal sharpening...

With the exception of maybe 1 lens out there, shot it its absolute ideal f-stop, and lowest ISO the A7R4 in my strong opinion produces larger, but not higher quality or more detailed files. I have literally made hundreds of world class, huge size fine art gallery prints out of both cameras and the A7R3 is better. The A7R2 is not as good as the A7R3.

The Panasonic Lumix S1R is in a world of its own and blows away all three. The Panasonic Lumix S1R has had the highest rated 35mm sensor for years (under 3 medium format systems), since it came out. Interestingly the A7R3 (not the A7R4) rates next head to head with the Nikon D850.

***Sorry, but I have to travel and may not be able to respond here for a while.

A7R2 file (6 inches out of a 50 inch 300ppi file)

A7R4 file (6 inches out of a 50 inch 300ppi file)

Sep 16, 2022 at 07:20 AM

voltaire
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p.2 #7 · p.2 #7 · 20 Year Monsoon

Beautiful!

Sep 19, 2022 at 12:35 PM

dallvr
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p.2 #8 · p.2 #8 · 20 Year Monsoon

Terrific photo!

Sep 19, 2022 at 04:28 PM

Mark Metternich
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p.2 #9 · p.2 #9 · 20 Year Monsoon

Sorry about the very late beyond late replies! I've been drowning in gallery post-processing for clients and workshops up to my ears this year! So as not to seem aloof or stuck up, or out of touch I am trying much harder to reply! Thank you for your understanding!

dbehrens wrote:
When I first saw this I was thinking focus stacked. Wow - for a single handheld shot! Its the best "snap" I've seen of this comp. I was there a month back and also saw more reflection pools than any other time. . . but not with running water. . . and now I'm too busy to go back up there! Grrr!

Thank you Dave! I can not even count anymore how many days over the course of about 15 years, that I have gone here! Maybe many hundreds, and I never tire of it! I even lived out here in my vehicle for some time! I always chase the weather here when at all possible. When everyone is saying “don’t go! That is when I (or my clients and I) go! This last year was easily the craziest amount of storms and rainfall in maybe 20 years. I was with an outfitter here who has gone out almost every week for like 20-30 years and they said they has NEVER seen it so hit with rain or the pools so huge or deep! You could practically swim in some of them! Here after getting chased OFF the sandstone with crazy lightning and high winds and hail, we took cover in our vehicles. Then as soon as the storm started to pass, we all ran back out here! I took my clients here (with the exception of those who wanted to shoot elsewhere) and some were struggling with compositions. So I simply took my camera out, and with the 11mm, walked around this spot for about 30 seconds and found this shot. Then took the “snap” to show them my LCD. They loved it and went crazy shooting it.

It is funny, after shooting as much as 300 days a year (in some previous years) with the 11-24mm, my brain just sees THOUSANDS of possibilities that a person just could not because we do not see ANYTHING like the 11mm… It actually becomes a problem for me sometimes as I see too many compositions sometimes, especially here!!!

Blessings to you and yours from me and mine! I really hope you are doing well.

Jeffrey wrote:
Lovely image, Mark!

Huge thank you Jeffrey.

keepclicking wrote:
Mark, always enjoy viewing and learning from your images. What I love is your passion to creating that special image. Thanks for sharing.

Thank you. Yeah that is just in my DNA I think. It's my favorite thing when it comes to photography (except for the great clients and people I meet all along the way). 🙂

Sunkmanitu wrote:
Fantastic shot!
A great thank you for your encouragement!

fpervez wrote:
Amazing - the framing is fantastic, and good grief, what an image

Wow, what a compliment! What an encouragement to me! I really mean it!

Ronny Olsson wrote:
Just a fantastic shot Mark !

Ronny

Thank you very much Ronny!

Majestictone wrote:
Exceptional Capture Mark... A7R2 user myself as well and I keep hearing quite amazing things about the S1R

A huge thank you!

The Panasonic Lumix S1R:

My main job for the last 15+ years (when not leading workshops or creating educational materials) is doing the post-processing for world class nature/landscape photographers nationally and internationally (usually under strict non disclosure agreement) and pushing the size and quality of photo files from EVERY CAMERA SYSTEM imaginable. I process countless hundreds of files every year from far over 10’ (foot) prints (the largest this year was a Triptych - 3 nearly 120” panels of a single image, and another that was about 14 foot) and then I more often do all my clients others sizes, like 60x120, or 60x90, 80”, 72”, 60” 50”, 45” 36” 24” 18” 12” postcard, magnet, calendar image, book image, and magazine image (CMYK).

Doing this all day nearly every day, even as much as 12+ hrs a day, for clients who tell me things like “I hired you because I want the BEST” puts massive pressure on me (and I thrive on it) to constantly keep pushing what is possible to the absolute cutting edge. I say this only because (for perspective) I get the most unique privilege of testing and processing ALL kinds of files, all the time!

As an example, just this week I am testing and working on files from an array of clients from the best of Phase One, like the IQ4 (150MP) through Schneider or Rodenstock lenses through technical cameras, Hasselblad, Fuji GFX 100, Canon R5, Canon 1DX MarkII, top Nikon’s, Leica SL2, Sony Alpha 1, Sony A7R4 and 5, and the Panasonic Lumix S1R…

The true ACID TEST of photo files is not looking at them to see how sharp they are. But, how do they handle pushing them to absolute world class quality at all sizes, especially large! That is where theory and formulas, and opinions go right out the door.

If I had a million dollars to burn buying any camera gear in the world right now, based on my experience with tons of these image files (including large format film, or anything else mortals can get their hands on) I believe that the Panasonic Lumix S1R, coupled with top Leica or Zeiss glass, especially with their superior pixel shift can create files nothing else can beat.

I am actually testing the Leica SL2 (also 47MP with a superior pixel shift) right now, and seeing equal results.

I believe most companies are now overshooting megapixels (making cameras with sensors that can resolve more detail than current lenses can give them). So, the files ARE larger, but actually softer (and usually with more noise to contend with). I can make a great print with most anything that is thrown my way (within reason) but having said that, out of the current lineup of great camera choices today, I would not shoot Sony A7R4 or 5. If I had to shoot Sony it would be the Alpha 1, which at 50 MP has not totally over shot megapixels and IMO is at the ceiling of resolution that a lens can give a 35mm camera.

In my strong opinion, 60MP is overshooting resolution, and creates larger, but softer files with more noise.

I hear Nikon is even going to follow suit with a 60MP camera soon. That disappoints me. Unless they make some new breakthrough in the physics of glass/lenses.

Top 35mm glass today, I am convinced, usually hits at around the upper 30’s in megapixel detail (actual quality to feed the sensor) to high 40’s. With a 47 MP sensor being the sweet spot if you also have great glass.

I heard that the Panasonic Lumix S1R is rumored to be making a version 2. If they go to 60MP, I will not buy it, and will be disappointed. But, the S1R and the Leica SL2 are right at that incredible sweet spot, but with superior pixel shifting technology. So with great glass and f/stops we get incredible 187 MP images that are incredibly great! The pixel shifting itself lowers the inherent noise profile by three stops. Meaning that a 50 ISO image is essentially like shooting 6 ISO! That is not a typo! SIX ISO. 400 ISO is the equivalent of about 50 ISO. This is a HUGE factor in the image's potential print quality (of ANY SIZE).

So, if I had that million bucks, the only difference is that I would have a bag of the very top lenses in the world to put on the S1R or the Leica SL2.

Canon, they have made great improvements (compared to older models), but still the files have a lot more noise and are softer. Great cameras for those who shoot moving subject matter though. But I do not.

Nikon (D850, Z9, Z72, Z7) great systems.

Sony A7R3 (still rated as one of the best sensors for 35mm)

GFX 100? I might exercise my right to remain silent. In a rare occasion, coupled with their absolute sharpest glass on the planet, absolute best f/stop and at the lowest ISO (ISO expansion low to 50) shot to the right of the histogram (or a stop brighter)… where everything is at infinity… once in a while, I’m moderately impressed.

Larger sensor medium format (Hassy and Phase) I believe the sweet spot is around the 80-100MP range. Stitching 80 MP larger MF format images, shot perfectly through a technical camera, with the very top Schnieder or Rodenstock lenses, then shifted and stitched is amazing. But the 150MP systems for the most part leave me wanting. I have many of these files on my computer right now. I also know of people who do critical work, who have sold their top MF (or it sits on their shelf collecting dust) and have gone with the Panasonic S1R! No joke.

The Hassy HGD-400C Multi Shot (100MP sensor - pixel shifted) is pretty awesome with the best glass, but has to be tethered to a computer (in studio basically) and is impractical for anything I do.

I know there may be a lot of opinions out there, but this is my feedback based on pushing many of these files to top quality prints. FYI, I did a 60x90 from the Leica SL2 the other day (pixel shifted) and it was an absolute dream to work with, and astonishing to look at! Could have been a 120” just as easily. So far I believe the S1R and SL2 are head to head for quality. But I have more testing to do...

The only thing I might bring up is that the Panasonic Lumix S1R does not have the best auto focus system for difficult moving subjects. But that is not an issue for me. I rarely use auto focus, and when I do it works great.

*Lastly, if you really want to go nuts, try Manual Pixel Shifting, between 10-30 back to back HD Auto Pixel Shifted images from the S1R, shot with a top Leica, and best settings! I’m not talking about stitching. I have tested this out and have made a 750MP image so far, and am working on one that is about 1000MP! Yeah, bonkers! Can make 8X10 look like low resolution.

Cheers.

voltaire wrote:
Beautiful!

Huge thank you. All the best!

dallvr wrote:
Terrific photo!

I totally appreciate it! Thank you.

Mar 01, 2023 at 11:38 AM

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