gdanmitchell
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Thanks for that overview. I even enjoyed your roundabout way of agreeing with me. ;-)
I thought I'd reply to this, even though it isn't specifically a R5/5DsR point:
Scott Stoness wrote:
I really notice the R vs AA. The 5dsr takes less effort to sharpen. I find sharpening annoying - when do you do it. How do you save the unsharpened because sharpening is different based on usage (web small, print, vs other). I just like the images better for this reason.
If you are really into the more subtle aspects of sharpening, you might find that there are "layers" of sharpening that you can apply at different points in the workflow for different reasons. One of mine is specifically reserved for the final output differences you are mentioning.
The process that follows might sound onerous to those who shy away from digging into sharpening, but there are ways to make it pretty quick and nearly automatic. I'm a ACR->Photoshop guy, so the details will be a bit different if you use Lightroom or other software.
I do three phases of sharpening.
The first is INPUT SHARPENING during the raw file conversion process. Basically, all raw files have to have some basic sharpening applied since they start out soft. These days I use two sets of settings, one for my 5DsR and another for my Fujjifilm XT5. (I keep some legacy settings around for older cameras, but I rarely do raw conversion on those older files.) I can store the camera-specific settings in ACR and just plug them in automatically as starting points, but I can also make them pretty quickly from scratch. I do a few other things related to sharpening in ACR, too. For example I may raise the mask slider (while previewing the effect) and add some basic NR, especially with high ISO files. This is very quick, even with somewhat trickier files.
Once I complete my raw conversion I open the file as a smart layer in Photoshop. (Opening this way includes a copy of the raw file in your Photoshop file, which will be quite large, but it also makes a ton of adjustments non-destructive and you can change them later f you need to.) If you use Lightroom you are essentially doing this automatically within that environment.) I do a lot of stuff with layers in Photoshop, depending on the image and what is required. As to sharpening, what I do here is typically pretty basic — I apply a set of predetermined settings that generally work well for the converted raw file from whatever camera I'm using. Until recently, I might have done other things like add custom sharpening and sharpening-related settings to masked areas of the image, though with the newly powerful masks in ACR I'm doing that less and less. By the way, some have referred to this entire phase of sharpening as CREATIVE SHARPENING. I'm not sure that is the best description, but it's the only one I've seen. This version of the file is the one I save, and I save only one copy of the full resolution file.
A third phase has been called OUTPUT SHARPENING. Here is where I apply different settings depending upon whether I'm printing or producing a .jpg and how large the image will be and so forth. For .jpgs the process is usually pretty straightforward, but for printing it can be a bit more involved sometimes. For example, I chose to sligltly over-sharpen for printing to compensate for printer dot-gain. And technically there are arguments that if you really want to optimize this process you will use different output sharpening for different types of paper. (Note that once I save the file after the first two sharpening steps outlined above, typically this third type is the only one I need to revisit for different forms of output.)
I told you that this would sound onerous.
The good news is that once you establish a workflow ike this it is actually pretty each and almost always pretty quick.
I'll leave this here, since this isn't really a print forum — but since it came up in the context of camera choice I figured it would be relevant to this particular thread.
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On another topic that came up, namely battery life, at least with the 5DsR it depends a lot on how you are shooting. If are using teh optical viewfinder you can get many hundreds and, with good batteries, well over 1000 exposures per battery in many cases. I think I've gotten up to something like 1400+.
However, when I shoot landscape I use the live view monitor a lot, especially for final framing/composition and for manual focus. When I do that I don't get any more shots out of a a battery than I would on mirrorless, and sometimes I get less!
dan
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