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Recent posts by Lloyd at , :

2019-10-08

Eastern Sierra Nevada: Fall Color in Full Swing, get there soon!

Strong cold winds and smoke from local fires forced me down from the White Mountains, killing two days of shooting time. Bummer, since I had distinct shots planned. But it was just unpleasant and unworkable. That weather has passed, and maybe I’ll try it again.

But yesterday I did a long (too long carrying gear!) up to Pine Creek Lake. While there are no aspen up at 10000 feet in that canyon, a brilliant stand of golden yellow aspen is not far up from the trailhead.

For highly fit and adventurous hikers, there are large stands of intense yellow and red aspen just below the Morgan Lakes, accessible via the Rock Creek trail, or the damaged and grueling trail from the Pine Creek area (hard core hikers only, legal for most of the way, but top skills required). Other places are much easier to get to, such as Lundy Canyon (which I have not visited as yet), albeit relatively crowded at Lundy, vs solitude.

Fall color is down to the 7000 foot level, perhaps a bit lower or higher in some areas, depending on exposure and conditions locally.

Sorry, no pictures yet as I have not had time to process the latest—yesterday’s 13-hour hike made me sleep for 13 hours!


(Gear Acquisition Syndrome)

Power Outage had Mail Server Down, Now Up

I live in 3rd-world country which can’t keep feces off the streets or maintain public health or keep the power on or create a viable policy to incentivize housing, but has billions for a bullet train to nowhere. Also known as California.

Anyway, the www.xiaoduboke.com mail server was down about the last 24 hours and is now back up. Please try again if your email could not be delivered.

This outage did not affect the www.xiaoduboke.com server, which is housed in tier 1 server room elsewhere.

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Voigtlander 65mm f/2 Macro APO-Lanthar Aperture Series: Old Mining Structures

This series from f/2 through f/6.3 evaluates the Voigtlander 65mm f/2 Macro APO-Lanthar on an finely detailed subject at medium-far range.

As is the case 95% of the time, Sony A7R IV 4-shot pixel shift was used but failed to deliver acceptable results, with checkerboarding and crosshatching problems. Which is a pity given the detail, but using Enhance Details gets it 70% of the delivers substantial improvement over standard processing.

Voigtlander 65mm f/2 Macro APO-Lanthar Aperture Series: Old Mining Structures near Death Valley

Includes images at up to 60 megapixel camera resolution plus 120 megapixels as upscaled by Gigapixel AI. The 120MP images are impressive, and what strikes me yet again is that they compete favorably with the 100-megapixel Fujifilm GFX100. When depth of field, micro contrast and total sharpness across the field (all of which relate to lens performance) are accounted for, I’m not so sure the GFX100 could beat this, or even match it.

CLICK TO VIEW: Top-notch Voigtlander Lenses for Sony FE

Total performance is as good as one is likely to see. This particular sample of the Voigtlander 65mm f/2 Macro APO-Lanthar continues to impress me as being exemplary in letting the Sony A7R IV show off its potential. Especially since 20 or so other lenses for the most part have obvious shortcomings.

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Old Mining Structures
f6.3 @ 1/30 sec electronic shutter, ISO 100; 2019-10-07 15:21:37
Sony A7R IV + Voigtlander MACRO APO-LANTHAR 65mm F2 Aspherical + polarizer Zeiss
ENV: abandonded mine NW of Death Valley, altitude 6000 ft / 1829 m, 65°F / 18°C
RAW: Enhance Details, LACA corrected

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Voigtlander 65mm f/2 Macro APO-Lanthar Aperture Series: Music Box in Miner’s Cabin

This series from f/4.5 through f/9 evaluates the Voigtlander 65mm f/2 Macro APO-Lanthar on an finely detailed subject at close range.

Sony A7R IV 4-shot pixel shift was used but failed to deliver acceptable results, with checkerboarding and crosshatching problems. But, to make lemonade out of lemons, the images shown here were specially processed with frame averaging (of the pixel shift frames), and also presented upscaled to 120 megapixels, just to show off the incredible detail that is possible.

Voigtlander 65mm f/2 Macro APO-Lanthar Aperture Series: Music Box in Miners Cabin (Sony A7R IV)

Includes images up to 120 megapixels.

The combination of extreme sharpness plus ultra low noise feels like better than medium format. Use your own eyes on the 60-megapixel native-resolution and 120 megapixel upscaled images and see what you conclude. I’m saying that not as a fact, but as a summarized visual impact , having shot the Fujifilm GFX100 extensively less than 6 weeks ago.


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Music Box in Miner’s Cabin
f9 @ 2.0 sec electronic shutter frame averaging 4, ISO 100; 2019-10-07 15:04:08
Sony A7R IV + Voigtlander MACRO APO-LANTHAR 65mm F2 Aspherical + polarizer Zeiss
ENV: mining cabin near Death Valley, altitude 6000 ft / 1829 m, 65°F / 18°C
RAW: Enhance Details, LACA corrected
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Nikon D850: the Last Best Camera for Monochrome?

I’ve been posting some technically awesome images from the Nikon D850 monochrome lately (hopefully a few have impressed on other aspects too).

The Nikon D850 monochrome is a Nikon D850 with its color filter array (CFA) removed by . The NEF files are converted to monochrome DNG via and “Method B”, then processed using Adobe Camera Raw. Doing so avoids any demosaicing and thus retains full spatial resolution.

The lack of an EVF being the one glaring omission vs mirrorless, the Nikon D850 has the best haptics and ergonomics of any camera on the market, my opinion of course. It also lacks PDAF pixels (which I have come to despise in any/all cameras). and thus does not suffer from PDAF banding. The D850 does its phase-detect AF via conventional DSLR means via the OVF.

Therefore, if monochrome is your thing and stunning tonality with film-like grain appeals, I cannot see any better choice than modifying a Nikon D850. I would greatly prefer it even over far more expensive routes like the Hasselblad X1D, which is just too slow and with horrible usability IMO. The Fujifilm GFX 50-S/R might suit if it can be done, but the lens choices are restricted, and the Nikon F-mount is future proof.

I said “last best” in the title, because who can say if future sensors will be available without PDAF focusing pixels. Potential focusing improvements aside (Fujifilm GFX100 a notably fail), PDAF pixels in all cases do not improve image quality, either delivering image-destroying PDAF banding in too many situations Fujifilm GFX 100 or Sony A9 come to mind) or indirectly through noise suppression, leaving less than random noise patterns in dark areas.

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Twenty Lakes Basin View To Mt Conness Eastern Ridge
f8 @ 0.8 sec electronic shutter, ISO 31; 2019-09-26 18:07:25
NIKON D850 monochrome + Zeiss Milvus 35mm f/1.4 + filter B+W Dark Red 091
ENV: Twenty Lakes Basin, altitude 10350 ft / 3155 m, 53°F / 11°C
RAW: USM{12,50,0}

Eureka Dunes from the West in Perspective

The Eureka Dunes looks like piddling sand heaps in this context, but they are the largest in North America, at 700 feet in elevation.

As seen from a sweaty overlook to the west, they don’t look like much, but climbing the Eureka Dunes is no mean feat: two steps forward as the sand slides back down for 700 vertical feet. Under the right moisture conditions, the “singing sands” might be heard.

This image is shown at up to 183 megapixels (via Gigapixel AI) on a page which will accumulate other examples:

Zeiss Milvus 135mm f/2 Examples: Eastern Sierra and White Mountains

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f8 @ 1/15 sec electronic shutter, ISO 31; 2019-10-07 10:20:33
NIKON D850 monochrome + Zeiss Milvus 135mm f/2 ZF.2 + filter B+W Dark Red 091
ENV: Talc mine to the west, altitude 6200 ft / 1890 m, 70°F / 21°C
RAW: pull 1.75 stops, +100 Shadows, USM{20,50,0}, +72 Dehaze, +100 Highlights

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Comparing Sony A7R IV to Sony A7R III Resolution: Pine Creek Mining Buildings

A similar study was done with the Sigma 35mm f/1.2 DG DN Art in View Past Greenstone Lake to North Peak.

This meticulous study looks at the real-world 1.2X linear resolving power difference of the Sony A7R IV versus the Sony A7R III on a finely detailed distant scene. Nothing short of perfect shot discipline and the very best lens is likely to match this comparison’s articulation of the differences. Based on the care I took, and other comparisons I’ve done between the A7R III and A7R IV, I consider it definitive as to potential of the A7R IV detail capture.

Extensive discussion. Everything matters, including how the images are upscaled.

Shootout of Sony A7R IV vs Sony A7R III: Pine Creek Mining Buildings

Includes images up to 138 megapixels plus crops from the 138MP images from f/2 through f/8 for both cameras with both Gigapixel AI and Photoshop upscaling. Plus the full resolution as-shot images from both cameras.

I worked hard to get things just right for comparison purposes. It took the right lens, the right subject at the right distance, and the right conditions (e.g, no wind).

1296 | 2592 | 4320
f4 @ 1/400 sec electronic shutter, ISO 100; 2019-10-05 09:24:59
Sony A7R IV + Voigtlander MACRO APO-LANTHAR 65mm F2 Aspherical + polarizer Zeiss
ENV: Pine Creek Tungsten Mine, altitude 8250 ft / 2515 m, 60°F / 15°C
RAW: Enhance Details, LACA corrected, vignetting corrected, -100 Highlights, +50 Whites, +100 Shadows

Get up to 16x more storage and 2x the speeds of the original drive

Epic Monochrome Panoramas at Pine Creek, Rock Creek with Nikon D850 monochrome

I’ve posted some very large black and white panoramas / stitched images in my review of the Zeiss Otus 100mm f/1.4 APO-Sonnar, taken on the 45MP Nikon D850 monochrome, which delivers the most detailed imagery of any camera I’ve ever used so far, at least with top Zeiss Otus and Zeiss Milvus glass. I marvel at the superiority in detail over the 60MP Sony A7R IV, and by the wonderfully low noise and absence of digital artifacts.

Unless I’m working in the dark without panorama gear, in which case this 578 megapixel panorama is a little off from its peak potential, which is to say it is still astonishing. I can’t find any hikers on the trail that winds itself up the canyone, and only two coyotes.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar Examples: Eastern Sierra (Nikon D850 monochrome)

Includes images up to 578 megapixels.

I goofed on one frame at far right—23 frames instead of 24—even the camera could show me nothing but black at f/1.4 in Live View, so I was guessing at position, dang it! Or maybe I’m just hiding all those naked sunbathing beauties at far right. Your call.

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f4 @ 4.0 sec electronic shutter stitched from 24 frames (6 X 4), ISO 31; 2019-10-05 18:54:37
NIKON D850 monochrome + Zeiss Otus 1.4/100 ZF.2
ENV: Pine Creek Tungsten Mine, altitude 8250 ft / 2515 m, 52°F / 11°C
RAW: vignetting corrected, -100 Highlights, +50 Whites, +100 Shadows, USM{10,50,0}

Dusk, Rock Creek

With everyone having abandonded the area in favor of their car, no one else was around to witness this striking glow at dusk on the high peak—it’s not sunlight as far as I could tell, but some unusual illumination. When I got back an hour later, only one lonely car was there, where there had been 100. Sunshine hikers are fine with me—I like the solitude and quiet.

I’m working my way through a lot of lenses, shooting more than I can possibly publish on the road, but here is a look at two solid choices for the Sony A7R IV.

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f5.6 @ 13.0 sec electronic shutter, ISO 100; 2019-10-02 19:00:35
Sony A7R IV + Sigma 14-24mm f/2.8 DG DN Art @ 24mm
ENV: Rock Creek, altitude 10750 ft / 3277 m, 35°F / 1°C
RAW: Enhance Details, LACA corrected
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f6.3 @ 30.0 sec electronic shutter, ISO 100; 2019-10-02 19:07:54
Sony A7R IV + Zeiss Loxia 85mm f/2.4 Sonnar
ENV: Rock Creek, altitude 10750 ft / 3277 m, 35°F / 1°C
RAW: Enhance Details, LACA corrected

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You Won’t Believe Your Eyes... Zeiss Milvus 135mm f/2 Aperture Series on Nikon D850 Monochrome: Pine Creek Mining Buildings (up to 181 megapixels)

This aperture series from f/2 through f/8 evaluates the performance of the Zeiss Milvus 135mm f/2 at medium-far distance on the 45 megapixel Nikon D850 monochrome, with stunning results—you won’t believe your eyes.

The Nikon D850 monochrome is a Nikon D850 with its color filter array (CFA) removed by . NEF files converted to monochrome DNG via and “Method B”, then processed using Adobe Camera Raw. Doing so avoids any demosaicing and thus retains full spatial resolution.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Milvus 135mm f/2 Aperture Series on Nikon D850 Monochrome: Pine Creek Mining Buildings

Images up to full camera resolution, all frames at 183 megapixels upscaled using Gigapixel AI.

I am not shooting a secret 183 megapixel camera. Just a Nikon D850 monochrome. Images like these surpass in detail and tonality and low noise anything I’ve ever shot on any camera of any resolution. Well I have not shot (yet) the PhaseOne IQ180 or its monochrome sibling, so I’ll exclude those for now.

The monochrome sensor and its freedom from debayering reveal the native performance of the lens without any intervening software behaviors. And I seem to have mastered the exposure and raw conversion side of things. The quality is breathtaking. I am now actively pondering how to acquire a D850m of my own.

AFAIK, the Nikon D850 has no PDAF pixels to wreck the image quality with horrible PDAF banding as with the prematurely-shipped Fujifilm GFX100, which cannot hide PDAF banding even in color images in some cases, as I showed in my review. I’m quite certain that the Nikon D850 monochrome as I’m shooting and processing it has lower noise and higher detail than the GFX100—and with no PDAF banding.

If you are a fan if black and white imagery, I’d urge you to have Dan at maxmax.com convert a Nikon D850 for you, because the days of cameras without quality-wrecking PDAF pixels are coming to an end. I am available on a basis for questions beyond what I cover in my review.

1296 | 2592 | 4320
f4 @ 0.5 sec electronic shutter, ISO 31; 2019-10-03 17:11:14
NIKON D850 monochrome + Zeiss Milvus 135mm f/2 ZF.2 + filter B+W Dark Red 091
ENV: Pine Creek Tungsten Mine, altitude 8400 ft / 2560 m, 50°F / 10°C
RAW: pull 1.4 stops, +40 Shadows, +40 Whites
Hard drives or SSD.

Jaw-Dropping Sharpness with Zeiss Milvus 85mm f/1.4 Aperture Series on Nikon D850 Monochrome: Pine Creek Mining Buildings (up to 181 megapixels)

This aperture series from f/1.4 through f/4 evaluates the performance of the Zeiss Milvus 85mm f/1.4 at medium-far distance on the 45 megapixel Nikon D850 monochrome.

The Nikon D850 monochrome is a Nikon D850 with its color filter array (CFA) removed by . NEF files converted to monochrome DNG via and “Method B”, then processed using Adobe Camera Raw. Doing so avoids any demosaicing and thus retains full spatial resolution.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Milvus 85mm f/1.4 Aperture Series on Nikon D850 Monochrome: Pine Creek Mining Buildings

Images up to full camera resolution, plus f/4 frame at 183 megapixels upscaled using Gigapixel AI. The detail is just stunning—on an iMac 5K your eyes will insist that the image was shot on a 181MP sensor.

I would have shot the Zeiss Otus 85mm f/1.4 APO-Sonnar but it takes 86mm filters, and without color filters over the lens, there is on way to differentiate a blue from a green from a red from a yellow. So I am shooting (mostly) only the lenses to which I can apply filtration.

The monochrome sensor and its freedom from debayering reveal the native performance of the lens without any intervening software behaviors. And I seem to have mastered the exposure and raw conversion side of things. The quality is breathtaking. I am now actively pondering how to acquire a D850m of my own.

There is just no getting around the fact that a true monochrome sensor kicks the crap out of a Bayer matrix sensor (far more detail, far less noise), and because the D850m sensor is “only” 45 megapixels, diffraction losses are negligible, even out to f/8. I'll put this sharpness up against the Fujifilm GFX100 any time. Of course, it is monochrome, not color.

1296 | 2592 | 4320
f4 @ 74.0 sec electronic shutter, ISO 31; 2019-10-03 18:53:08
NIKON D850 monochrome + Zeiss Milvus 85mm f/1.4 + filter B+W Dark Red 091
ENV: Pine Creek Tungsten Mine, altitude 8400 ft / 2560 m, 50°F / 10°C
RAW: pull 0.4 stops, USM{10,50,0}

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Nikon D850 monochrome: Pine Creek Peaks and Crescent Moon, Dusk

The Nikon D850 monochrome delivers jaw-dropping sharpness in a single frame along with dynamic range unrivalled by any other 35mm camera (as far as my eyes tell me)*.

What happens when ten frames (5 across, 2 high) are used to create a 280 megapixel stitched image? Very good things, as in a wall-sized image of extremely fine detail.

This image has a 5:4 aspect ratio, just like a 4X5 or 8X10 view camera. Ansel would have felt right at home. Its resolution is sufficient for a 61 X 54 inch print at 300 dpi.

Nikon D850 monochrome: Creating a Color Image from Monochrome Using Filters

Includes images up to a razor-sharp 280 megapixel size.

I’d like to make a 2 X 2 meter print of this image, but I don’t know if that can be done with quality in one piece. I might have to settle for 60 X 60 inches.

* With the color filter array of the Bayer matrix stripped away, all pixels see full light not the 1/2 or 1/3 or 1/4 the light each colored pixel would see, resulting in substantially reduced noise. Along with ISO 31 exposed with ideal ETTR technique and no debayering involved, the files are ultra clean and eye-poppingly detailed.

The Zeiss Milvus 85mm f/1.4 performs brilliantly on the Nikon D850 monochrome. In Pine Creek Peaks at Dusk, Crescent Moon, it was shot at f/4.5 with the B+W Dark Red 091 filter at dusk.

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Pine Creek Peaks at Dusk, Crescent Moon
f4.5 @ 6.0 sec electronic shutter stitched from 10 frames (5 X 2), ISO 31; 2019-10-03 18:36:21
NIKON D850 + Zeiss Milvus 85mm f/1.4 + filter B+W Dark Red 091
ENV: Pine Creek Tungsten Mine, altitude 9000 ft / 2743 m, 50°F / 10°C
RAW: vignetting corrected, pull 1.3 stops, USM{8,50,0}
1296 | 2592 | 5112
Pine Creek Mining Buildings at Dusk
f4 @ 6.0 sec electronic shutter panorama 5 frames, ISO 31; 2019-10-03 18:43:38
NIKON D850 + Zeiss Milvus 85mm f/1.4 + filter B+W Dark Red 091
ENV: Pine Creek Tungsten Mine, altitude 9000 ft / 2743 m, 50°F / 10°C
RAW: vignetting corrected, pull 1.15 stops, USM{10,50,0}
Hard drives or SSD.

Nikon D850 monochrome: Creating a Color Image from Monochrome Using Filters

I tried creating a color image from a monochrome camera (the Nikon D850 monochrome). The technique works, but movement is problematic, just as with pixel shift—and yet better in avoiding checkerboarding

Nikon D850 monochrome: Creating a Color Image from Monochrome Using Filters

The monochrome sensor and its freedom from debayering reveal the native performance of the lens without any intervening software behaviors. Assembling a color image this way has some creative potential for several reasons including that the color filters used can cover distinct areas of the spectral band, versus most color cameras, which overlap the R/G/B spectral absorption.

1296 | 2592 | 4320
f6.3 @ 2.0 sec electronic shutter, ISO 31; 2019-10-03 17:57:24
NIKON D850 monochrome + Zeiss Milvus 135mm f/2 ZF.2
ENV: Pine Creek Tungsten Mine, altitude 9200 ft / 2804 m, 55°F / 12°C
RAW: -100 Highlights, pull 0.8 stops
3 monochrome frames with R/G/B filters

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Zeiss Milvus 35mm f/1.4 Aperture Series on Nikon D850 Monochrome: Fresh Snow, Bright Sun and Racing Clouds on Mountainside

This series evaluates performance of the Zeiss Milvus 35mm f/1.4 on a near-far distance scene from f/1.4 through f/8 on the 45 megapixel Nikon D850 monochrome.

The Nikon D850 monochrome is a Nikon D850 with its color filter array (CFA) removed by .

NEF files converted to monochrome DNG via and “Method B”, then processed using Adobe Camera Raw. Doing so avoids any demosaicing and thus retains full spatial resolution.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Milvus 35mm f/1.4 Aperture Series: Fresh Snow, Bright Sun and Racing Clouds on Mountainside (Nikon D850 monochrome)

The monochrome sensor and its freedom from debayering reveal the native performance of the lens without any intervening software behaviors

Includes images up to full 45MP camera resolution, PLUS entire series upscaled to 100 megapixels using Gigapixel AI, with impressive results.

1296 | 2592 | 4320 | 6000
f8 @ 1/60 sec electronic shutter, ISO 31; 2019-09-29 12:18:42
NIKON D850 monochrome + Zeiss Milvus 35mm f/1.4 + filter B+W Dark Red 091
ENV: Greenstone Lake, altitude 10100 ft / 3078 m, 32°F / 0°C
RAW: vignetting corrected, pull 1.5 stops

Deals Updated Daily at B&H Photo

Comparing Sony A7R IV to Sony A7R III Resolution: View Past Greenstone Lake to North Peak

This field comparison between the Sony A7R IV and Sony A7R III uses the Sigma 35mm f/1.2 DG DN Art, which when focused optimally, is one of the sharpest lenses available for Sony. But... it’s a lot trickier than that.

Shootout of Sony A7R IV vs Sony A7R III: View Past Greenstone Lake to North Peak

Includes images from f/4 through f/8 at up to actual pixels for both cameras (60MP), plus 100 megapixel upscaled images and crops from them.

1296 | 2592 | 4320
f4 @ 1/250 sec, ISO 100; 2019-09-24 15:02:16
Sony A7R IV + Sigma 35mm f/1.2 DG DN Art RAW: Enhance Details, LACA corrected
Sony A7R IV

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Comparing Sony A7R IV to Sony A7R III Resolution on a Siemens Chart

This page sets looks at an idealized target (Siemens chart), which can demonstrate the best possible sharpness unambiguously. It presents findings which are definitive as to the peak potential of both cameras under ideal conditions.

There is a much to be learned here, and from f/2 to f/11 for both cameras:

Shootout of Sony A7R IV vs Sony A7R III: Siemens Chart

Includes images from f/2 through f/11 at up to full camera resolution, shot in pixel shift, single frame with Enhance Details and without.

f4 @ 0.3 sec pixel shift, ISO 100; 2019-09-21 09:03:02
Sony A7R IV + Voigtlander MACRO APO-LANTHAR 65mm F2 Aspherical @ 97mm equiv (65mm) RAW: LACA corrected, vignetting corrected
Hard drives or SSD.

November-Like Shooting Conditions in Eastern Sierra

Dang—in order, witness the tremendous change in the conditions over the past few days.

Lo! A paradise for photography, cold but approachable and enjoyable raw beauty and then...

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f8 @ 6.0 sec electronic shutter focus stack 3 frames, ISO 100; 2019-09-26 19:09:52
Sony A7R IV + Sigma 14-24mm f/2.8 DG DN Art @ 14mm
ENV: Twenty Lakes Basin, altitude 10300 ft / 3139 m, 53°F / 11°C
RAW: LACA corrected, +57 Whites, +100 Shadows, -73 Highlights

It had been late October cool most of the week, wrecking some adventurous plans, but still beautiful, as above.

The next day September 27 was cold but reasonably clear, but I worked in the van all day and then drove down to publish/push to server—a mistake in retrospect given this storm on the 28th, because it will probably take at least a week for the snow to melt off to reveal all the color again, if it even does that—a warm front is needed.

Then the cold storm hit late on the 28th after a cold and windy but clear and lovely day, the temperature high on the ridge below North Peak of Mt Conness, my sports drink (salts and dextrose) was slushing in the 1L bottle—it was already down to perhaps 25°F with 40 mph gusts—on top I had on a cycling jersey, a hoodie, a light and medium-weight down rand triple layers on legs (medium weight cycling tights, wool pants, wind pants). That got the job done and no need for a wind layer on top, but dang—just like November only colder with the wind. Well, that’s why I take the extra clothing and an extra 1000 calories or so, and a Spot X just in case I’m actually a dumb-ass when everyone else has left and gone. But I get a private park all to myself.

On the 28th, I got out again and conditions started out nicely...

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f6.3 @ 1/50 sec electronic shutter, ISO 31; 2019-09-28 14:52:18
NIKON D850 monochrome + Zeiss Otus 55mm f/1.4 APO-Distagon + filter B+W Dark Red 091
ENV: Twenty Lakes Basin, altitude 10200 ft / 3109 m, 50°F / 10°C
RAW: vignetting corrected, -100 Highlights, +57 Whites, +100 Shadows
1296 | 2592 | 4320 | 6000
f8 @ 1/80 sec electronic shutter, ISO 100; 2019-09-28 15:08:11
Sony A7R IV + Zeiss Loxia 25mm f/2.4 Distagon + polarizer Zeiss
ENV: Twenty Lakes Basin, altitude 10300 ft / 3139 m, 45°F / 7°C
RAW: LACA corrected
glorious, but soon to change

(sorry, I need to process some intervening pictures as the clouds build).

Late in the afternoon on the 28th, clouds build up, and by evening high up on the eastern ridge of North Peak of Mt Conness, an ominous storm rolls in over the upper Mt Conness eastern drainage. Hard pellets of snow pelt me. My sports drink is turning to slush and I have two down jackets on and three layers on the bottom and hoodie and wool hat and down hood and it’s just about right with the wind gusting to at least 30 mph, so long as I keep moving. It is getting dark, and I arrive back at the after dark, riding back through a cold but beautiful steady snowstorm alongside Saddlebag Lake. I sleep in the van, as usual, at 10K feet.

1296 | 2592 | 4320 | 6000 | 8288
f8 @ 10.0 sec electronic shutter, ISO 31; 2019-09-28 18:47:15
NIKON D850 monochrome + Zeiss Milvus 18mm f/2.8 + filter B+W Dark Red 091
ENV: Eastern ridge of North Peak, altitude 10600 ft / 3231 m, 25°F / -3°C
snowstorm approaches, hard cold snow starts

The next day dawns clear and bright, and , reading 19°F in the sun at 8 AM. It probably got down to 14°F or so and gelled the summer-blend Diesel #2 fuel. I had not anticipated such cold in late September, and the winter blend diesel is not in the tank.

So I go shooting with a courtesy boat ride to the far end of the lake. The Moots goes along for the return trip along lake edge. Later that day it warmed up to a balmy 37°F but with strong gusty winds, and the van started up OK.

1296 | 2592 | 4320 | 6000 | 9504
f8 @ 1/640 sec electronic shutter, ISO 100; 2019-09-29 09:50:32
Sony A7R IV + Sigma 14-24mm f/2.8 DG DN Art @ 23mm equiv (23.1mm)
ENV: Saddlebag Lake, altitude 9950 ft / 3033 m, 35°F / 1°C
RAW: LACA corrected
quick trip to end of the lake, bike for getting back

Working conditions extremely difficult: with gloves on, modern cameras are designed to be very difficult to use, and with gloves off, my fingers become too stiff and painful within 5 minutes. Would have been pleasant but continuous wind makes it very difficult to work. Whoever, shrunk the 4-way controller on the Nikon D850 down from the excellent one on the Nikon D810 ought to be demoted two positions for poor judgment—the D850 is far less usable with gloves than the D810. Maybe some @#$#$*$* bean counter wanted to share the 4-way controller between the Nikon Z7 and Nikon D850, WTHK.

With the van starting again at 3PM on the 28th, and mostly depleted from a week of work on the 2019 iMac 5K, I left uncertain of the and wanting to charge up the batteries and get out of the damned merciless wind and to contact a Mercedes dealer about the issue. As it turns out, the van does need to warm up, but the diesel fuel thing means I have to get some anti-gel into the fuel or the White Mountains might not let me leave. But the no-go issue remains.

1296 | 2592 | 4320 | 6000 | 9504
f8 @ 1/640 sec electronic shutter, ISO 100; 2019-09-29 13:52:00
Sony A7R IV + Sigma 14-24mm f/2.8 DG DN Art @ 19mm equiv (19.1mm) + polarizer Breakthrough Photography X4
ENV: Greenstone Lake, altitude 10100 ft / 3078 m, 35°F / 1°C
RAW: LACA corrected
strong wind, very hard to stay warm
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Dealing with Sporadic Brief Power Outages

Part of the Pacific Gas and Electric “upgrades” over the past few years is the bonus feature of sudden power loss lasting 1/4 or 1/2 second, which is plenty to shut down any computer or other gear I am using.

I have a variety of UPS units I’ve bought over the years, enough that they have “aged out” even after 2 or 3 batteries. These days, the 2019 iMac 5K draws so little power (even with 2nd display), that a simple unit is all I really need.

Today only, Amazon has the CyberPower CP1350AVRLCD Intelligent LCD UPS System, 1350VA/815W, 10 Outlets, AVR, Mini-Tower at only $99. I just about one since one of my similar APC units went bad (and it cost a lot more).


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Nikon D850 Monochrome Examples in Eastern Sierra, Focus Stacked and Presented at Up to 182 Megapixels

Background: The Nikon D850 monochrome is a Nikon D850 with its color filter array (CFA) removed by . The NEF files are converted to monochrome DNG via and “Method B”, then processed using Adobe Camera Raw. Doing so avoids any demosaicing and thus retains full spatial resolution.

I’ve added some stunning examples from the Eastern Sierra shot with the Nikon D850 monochrome. I say “stunning” meaning that they are at least technically so, and I hope some make the cut to reader eyes as having artistic merit too.

Nikon D850 monochrome

Nikon D850 Monochrome Examples: Eastern Sierra

Several of these focus stacked samples are presented at up to 182 megapixels, upscaled using Gigapixel AI. It’s hard to believe thjey were shot on a 45MP sensor, but the monochrome capture provides acute per-pixel detail with extremely low noise. I have no doubt that the images would print 2 meters wide at 210 dpi and look razor sharp. I’d like to make such a test print to test that theory, but I don’t know if it can be done that large.

The Zeiss Milvus 35mm f/1.4 provide spectacular detail, as good as any Zeiss Otus—at half the price! With low distortion and minimal field curvature and perfect symmetry (such a relief from the Sony platform!), it is a joy to use on the Nikon D850 monochrome.

100+ megapixels?

WOW! I have never seen image quality this high from any 35mm camera before. Image quality is outstanding in a single shot at ISO 64 on the Nikon D850 monochrome, but I’m extending that via focus stacking and in some cases, frame averaging.

I hereby raise my estimation of equivalent megapixels to 100+ megapixels, and still I think the detail exceeds anything I captured with the Fujifilm GFX100. That is a little unfair perhaps since the GFX100 is a Bayer matrix color camera, but there it is.

How can that be? My educated guess is that it is a combination of:

  • Monochrome capture with no debayering yields acute per pixel capture accuracy.
  • Outstanding lens performance definitely considerably better total sharpness from lenses like the Zeiss Milvus 35mm f/1.4 and Zeiss Otus 55mm f/1.4 APO-Distagon (and others) than the Fujifilm GF lenses can deliver.
  • Notching up lens performance using filtration that eliminates spectral blur (eg blue/red/green not focusing quite exactly the same). This also increases real (actual) depth of field to close to the theoretical amount, particularly in the outer zones.
  • Seemingly reduced effects of difraction (for reasons I don’t understand).
  • Extremely low noise, particularly at ISO 31.

Shooting in monochrome can be boring on brilliantly colorful days, but I find that with the right lighting I am really enjoying the challenge of making stronger compositions, which are essential in black and white.

1296 | 2592 | 4320 | 6000
f8 @ 0.3 sec electronic shutter focus stack 5 frames, ISO 31; 2019-09-26 17:02:38
NIKON D850 monochrome + Zeiss Milvus 35mm f/1.4 + filter B+W Dark Red 091
ENV: Twenty Lakes Basin, altitude 10300 ft / 3139 m, 60°F / 15°C
RAW: vignetting corrected, pull 1.2 stops
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Shootout: Sigma 14-24mm f/2.8 DG DN Art vs Zeiss Loxia 21mm f/2 Distagon: Twenty Lakes Basin, View Towards Mt Conness Drainage (Sony A7R IV)

This series pits the Sigma 14-24mm f/2.8 DG DN Art against the Zeiss Loxia 21mm f/2.8 Biogon on a far-distance landscape scene on the 60-megapixel Sony A7R IV. Includes images from wide open to f/8 at up to full camera resolution.

Sigma 35mm f/1.2 DG DN Art and Zeiss Loxia 35mm f/2 Biogon (not to scale)

The Sigma 14-24mm f/2.8 DG DN Art is a state of the art design for Sony mirrorless and by all measures might be the best 14-24mm zoom ever produced. The sample tested here is significantly better than the first one tested, but still not very impressive at f/2.8 or f/4, but then hold on tight because it gets really really good. The Zeiss Loxia 21mm f/2.8 Biogon optical design was produced for Sony mirrorless in 2015, and it is a fine performer. And yet... we shall see.

Shootout: Sigma 14-24mm f/2.8 DG DN Art vs Zeiss Loxia 21mm f/2 Distagon: Twenty Lakes Basin, View Towards Mt Conness Drainage (Sony A7R IV)

Includes images from wide open to f/8 at up to full camera resolution, with crops and extensive analysis/discussion.

CLICK TO VIEW: 21mm Options for Sony Mirrorless

1296 | 2592 | 4320
f5.6 @ 1/25 sec, ISO 100; 2019-09-26 18:25:04
Sony A7R IV + Sigma 14-24mm f/2.8 DG DN Art @ 20mm equiv (20.9mm)
RAW: Enhance Details, LACA corrected, vignetting corrected, -100 Highlights, +50 Whites, pull 0.6 stops, +80 Shadows
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Shootout: Sigma 35mm f/1.2 DG DN Art vs Zeiss Loxia 35mm f/2 Biogon: Twenty Lakes Basin, View Towards Mt Conness Drainage (Sony A7R IV)

This series pits the Sigma 35mm f/1.2 DG DN Art against the Zeiss Loxia 35mm f/2 Biogon on a far-distance landscape scene on the 60-megapixel Sony A7R IV. Includes images from wide open to f/11 at up to full camera resolution.

Sigma 35mm f/1.2 DG DN Art and Zeiss Loxia 35mm f/2 Biogon (not to scale)

The Sigma 35mm f/1.2 DG DN Art is a state of the art design for Sony mirrorless and by all measures might be deemed the sharpest 35mm lens ever produced, at least if a prime sample can be obtained. The sample tested here is much better than the first one tested, but still not very impressive at f/1.2 and f/2, so there might be a better one out there. Still, by f/2 it delivers exceptional performance.

The 35/2 Biogon is a quite old optical design with near-zero distortion which Zeiss has adapted from rangefinder days for Leica M to Sony mirrorless. Never designed for mirrorless, its performance wide open has clear limits. And yet its near-zero distortion and propensity to outshine just about every 35mm on Sony when stopped down pose an interesting question as to just how well it can do against the Sigma when stopped down to the f/4 to f/8 range.

As well, the Sigma 35/1.2 is a huge and heavy (1090g) lens, so this comparison might be of great interest to the photographer shooting at f/4 through f/11 in that the Loxia 35/2 is ultra compact and lightweight (340g) by comparison—less than 1/3 the weight and about 1/5 the bulk, easily fitting into a pocket.

Shootout: Sigma 14-24mm f/2.8 DG DN vs Zeiss Loxia 25mm f/2 Biogon: Twenty Lakes Basin, View Towards Mt Conness Drainage (Sony A7R IV)

Includes images from wide open to f/11 at up to full camera resolution, with crops and extensive analysis/discussion.

CLICK TO VIEW: 35mm Options for Sony Mirrorless

1296 | 2592 | 4320
f2 @ 1/160 sec electronic shutter, ISO 100; 2019-09-26 18:35:08
Sony A7R IV + Sigma 35mm f/1.2 DG DN Art
ENV: Twenty Lakes Basin, altitude 10400 ft / 3170 m, 55°F / 12°C
RAW: Enhance Details, LACA corrected, vignetting corrected, +20 Shadows, USM{8,50,0}
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Conclusions and Recommendations for Sigma 14-24mm f/2.8 DG DN Art

I’m taking the fairly unusual step of laying out my extensive thoughts on the Sigma 14-24mm f/2.8 DG DN Art now, because I expect to drop usage of most of the other lenses in its zoom range for shooting during the rest of my trip—why shoot next-best? But the Sigma 14-24/2.8 is not without its issues nonetheless.

Conclusions and Recommendations on the Sigma 14-24mm f/2.8 DG DN Art

CLICK TO VIEW: Ultra Wide Lenses for Sony

As said in a previous post: I’m not sure I could have done better with the Fujifilm GFX100, and probably less good. It’s all about the optics including sharpness, real (actual) depth of field, color correction, etc.

1296 | 2592 | 4320
Fall Colors near Alpine Pond
f6.3 @ 2.5 sec electronic shutter focus stack 3 frames, ISO 100; 2019-09-26 19:05:35
Sony A7R IV + Sigma 14-24mm f/2.8 DG DN Art @ 18mm equiv (18.6mm)
ENV: Twenty Lakes Basin, altitude 10300 ft / 3139 m, 53°F / 11°C
RAW: LACA corrected, +57 Whites, -86 Highlights, +100 Shadows, USM{5,50,0}

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Jaw-Dropping Image Quality: Sony A7R IV with Sigma 14-24mm f/2.8 DG DN Art Examples: Eastern Sierra

These examples with the Sigma 14-24mm f/2.8 DG DN Art taken in the Eastern Sierra on the 60-megapixel Sony A7R IV. Some are focus stacked images showing off the incredible detail possible on 60MP, and some also include 100 megapixel versions upscaled using Gigapixel AI.

Sigma 14-24mm f/2.8 DG DN Art Examples: Eastern Sierra

Includes images up to full camera resolution, plus selected images presented at 100 megapixels, via upscaling with Gigapixel AI.

If these images do not impress in detail, color and visual impact, then I don’t know what will. As a photographer, it is a heck of a thrill to see this level of quality. Both the camera and the lens deserve considerable praise.

It seems to me that between the Sony A7R IV and the broad lens line for it with lenses like this, Sony has cemented its leadership in mirrorless. I cannot see how Canon or Nikon or Panasonic or Leica have a snowball’s chance in hell at this point with their plodding too-little too-late stuff.

I still reserve a lot of criticism for Sony however—so many missing features such as built-in focus stacking support, intelligent frame averaging, multi-shot high-res mode like Panasonic, iPhone-like panoramas, no lossless compressed files, and many more issues. I’m dumbfounded by Sony not including these things, as they are technically straightforward, and leave chinks in the armor.

CLICK TO VIEW: Ultra Wide Lenses for Sony

1296 | 2592 | 4320
Colorful Plants Approaching Alpine Pond
f8 @ 6.0 sec electronic shutter focus stack 3 frames, ISO 100; 2019-09-26 19:09:52
Sony A7R IV + Sigma 14-24mm f/2.8 DG DN Art @ 14mm
ENV: Twenty Lakes Basin, altitude 10300 ft / 3139 m, 53°F / 11°C
RAW: LACA corrected, +57 Whites, +100 Shadows, -73 Highlights

Tom R writes:

Incredible images in your Sony a7r4/Sigma 14-24/Alpine Pond post this morning. I suspect you have plenty of pending projects … but I would really be interested in your recommended workflow for utilizing Gigapixel AI in conjunction with frame averaging and focus stacking.

fun88官网: I intend to add an upscaling section to Making Sharp Images detailing how to best use Gigapixel AI, but I am deferring that for time reasons right now, but I want to gain more insight into the best choices for the image fed to it, as well as Gigapixel AI settings, so I can offer solid advice. I’ve been winging it, but I am learning as I go.

Nick M writes:

Enjoyed your Sigma 14-24 coverage, thanks, including some beautiful shots of fall in the Sierras. Seems you would be happy to carry this in place of say a Batis 18 and Batis 25 - is that correct?!

Would be super interested to see how you like the Sigma vs the Tamron 17-28. The Tamron certainly claims strong performance and is materially smaller and lighter than the Sigma. I am slightly uncertain about the focal range, having no experience wider than 16mm, but on balance think the 17-28 range is probably more useful for me.

fun88官网: it is my impression that a sample of the Sigma 14-24mm f/2.8 DG DN Art that performs as designed would outclass every lens in its range ever designed—if such a sample exists. One source of impeccable technical credentials tells me that 8 of 8 samples were crap—all showing obvious problems.

Seems like Sigma is running a 1one-sigma operation here, speaking in terms of operations!

Jason W writes:

Really good stuff Lloyd. Reviewing the images, I think the GFX100 + 23mm combo is still the nut hand in the eq. 18mm FF perspective but at 1/3 the price the A7RIV + Sigma 14-24 with Gigapixel gets you 85% of the way ther

Ultimately, I've already bought the 23mm GF and 45mm GF and have been renting a GFX 50R body. Honestly, with Gigapixel, I could live happily with the 50R and may buy one. The ability to frame 65:24 + Fuji film simulation colors gives me what I need. The GFX100 will come down in 2-3 years and I'll have the glass when it does.

fun88官网: I don’t think it comes down to one metric, but I do know that the Fujifilm GF 23mm f/4 ranges widely in quality as per the three sample I’ve used—one could not make sharpness at a large swath of the edges at f/8 on the Fujifilm GFX-50S.

A big problem with the Fujifilm GFX-50S is horrific color moiré and color aliasing on too many scenes—this goes away with the Fujifilm GFX100. But Adobe Camera Raw Enhance Details helps a great deal with the those issues. Without that, I’d say scaling for a clean image might get ugly.


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Nikon D850 Monochrome: Blending Two Exposure Bracketed Frames for a 4X Reduction in Noise

Background: The Nikon D850 monochrome is a Nikon D850 with its color filter array (CFA) removed by . The NEF files are converted to monochrome DNG via and “Method B”, then processed using Adobe Camera Raw. Doing so avoids any demosaicing and thus retains full spatial resolution.

This page looks at using exposure bracketing with the goal of blending frames for reducing noise and extending dynamic range, as applied in black and white from images taken on the Nikon D850 monochrome.

Nikon D850 monochrome

Anyone having gone to the trouble of shooting an exotic camera like a Nikon D850 monochrome will presumably want to get the very best from it—and as good as it is in a single shot with terrific dynamic range, it can be spectacular with some additional effort, as shown here.

I considered frame averaging for this same scene—shot the frames and tried on the computer—but wind causes motion and that is a problem for frame averaging at least without a lot of touchup—it blurs water and grass and anything moving. Plus if the wind should happen to move the camera 1/2 or 1/4 pixel between frames, details soften.

Blending Frames for Low Noise, Dynamic Range (Twenty Lakes Basin View To Mt Conness Eastern Ridge)

Includes images up to full camera resolution for single shot versus frame blending, plus a 182 megapixel version of the blended frame upscaled using Gigapixel AI.

1296 | 2592 | 4320
Twenty Lakes Basin View To Mt Conness Eastern Ridge
f8 @ 0.8 sec electronic shutter, ISO 31; 2019-09-26 18:07:25
NIKON D850 monochrome + Zeiss Milvus 35mm f/1.4 + filter B+W Dark Red 091
ENV: Twenty Lakes Basin, altitude 10350 ft / 3155 m, 53°F / 11°C
RAW: USM{12,50,0}

 


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Autumn Color Season Starting in Eastern Sierra

Autumn color is starting in the Eastern Sierra, with the willows and grasses turning at 10,000 feet. I haven’t checked out aspen out higher elevations as yet, but I think they are starting also.

If you are interested in a photo tour, please contact me via email. I’ll be in the Sierra for a few weeks photographing.

1296 | 2592 | 4320
f8 @ 1/80 sec electronic shutter, ISO 100; 2019-09-24 15:03:02
Sony A7R IV + Sigma 35mm f/1.2 DG DN Art + polarizer Breakthrough Photography X4
ENV: Greenstone Lake, altitude 10300 ft / 3139 m, 60°F / 15°C
RAW: LACA corrected
1296 | 2592 | 4320
f8 @ 1/200 sec electronic shutter, ISO 100; 2019-09-23 13:11:49
Sony A7R IV + Voigtlander FE NOKTON 21mm f/1.4 Aspherical
ENV: Saddlebag Lake, altitude 10000 ft / 3048 m, 50°F / 10°C
RAW: Enhance Details

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Sigma 35mm f/1.2 DG DN Art Aperture Series: Rocky Creekbed at Dusk (Sony A7R IV)

Sigma 35mm f/1.2 DG DN Art

Shot with 2nd sample of the Sigma 35mm f/1.2 DG DN Art, one clearly superior to the first sample, maybe not the best possible sample, but quite good.

This series evaluates the Sigma 35mm f/1.2 DG DN Art from f/1.2 through f/11 a near-far outdoor landscape at dusk. A beautifully-sharp 4-frame focus stacked image at f/7.1 is included for comparison.

It sure is a chore lugging the Sigma 35mm f/1.2 DG DN Art around for landscape photography, particularly when f/1.2 and f/1.4 have little value. It balances poorly on the Sony A7R IV, so much so that I feel I have to constantly support the lens lest it swing around and bang something. And it takes an unfairly large share of the volume of my pack. But the results make the effort worthwhile.

Sigma 35mm f/1.2 DG DN Art Aperture Series: Rocky Creekbed at Dusk (Sony A7R IV)

Images up to full resolution plus a 100-megapixel version of the 4-frame focus stack at f/7.1.

The focus stacked image benefits from a world-class lens, something that eluded me with the Fujifilm GFX100, that is, even just one lens that made me satisfied that I was getting all that could be gotten from the sensor—never happened.

When I scale the 4-frame f/7.1 focus stacked image to 100 megapixels using Gigapixel AI, my impression is that the Sony A7R IV + Sigma 35/1.2 DG DN Art outperforms the Fujifilm GFX100. View the 100MP image and decide for yourself.

1296 | 2592 | 4320
f7.1 @ 2.0 sec electronic shutter focus stack 4 frames, ISO 100; 2019-09-23 18:56:56
Sony A7R IV + Sigma 35mm f/1.2 DG DN Art + polarizer Breakthrough Photography X4
ENV: Conness Creek, altitude 10300 ft / 3139 m, 45°F / 7°C
RAW: LACA corrected, vignetting corrected

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Nikon D850 Monochrome Examples, Eastern Sierra

Background: The Nikon D850 monochrome is a Nikon D850 with its color filter array (CFA) removed by . The NEF files are converted to monochrome DNG via and “Method B”, then processed using Adobe Camera Raw. Doing so avoids any demosaicing and thus retains full spatial resolution.

This page shows examples from the Eastern Sierra shot with the Nikon D850 monochrome, a Nikon D850 with its color filter array (CFA) removed.

Most examples shot with frame averaging for superior tonality and lower noise, and most of these include the single frame image for comparisons.

Nikon D850 monochrome

Nikon D850 Monochrome Examples: Eastern Sierra

Nikon D850 Monochrome Examples: Eastern Sierra, Man-Made Structures

Includes images up to full camera resolution, but some of the images also provide variants scaled up to 100 megapixels using Gigapixel AI, with wonderful results.

WOW! I don’t think I have seen image quality this high from any 35mm camera ever before.

Image quality is outstanding in a single shot at ISO 64 on the Nikon D850 monochrome, with an incredible detail equivalent to perhaps 70 megapixels from a Bayer matrix color capture of most subject matter. I would say closer to 100 megapixels if the subject matter is of a frequency or color that works poorly with Bayer demosaicing.

Check out the 100 megapixel upsamples and see for yourself. Maybe it is “cheating” to use Gigapixel AI and consider black and white capture, but it gets the D850m files into Fujifilm GFX100 territory, and I would say often sharper in practice (lens performance and depth of field versus sensor resolution). Certainly the visual impact is hard to deny and the Zeiss Otus 55/1.4 is just about unbeatable with a B+W Green 061 filter on the D850m.

1296 | 2592 | 4320
f8 @ 0.6 sec electronic shutter focus stack 7 frames, ISO 31; 2019-09-24 18:42:27
NIKON D850 + Zeiss Otus 55mm f/1.4 APO-Distagon + filter B+W Green 061
ENV: Upper Conness Creek, altitude 10700 ft / 3261 m, 50°F / 10°C
1296 | 2592 | 4320
f7.1 @ 1/40 sec electronic shutter focus stack 5 frames, ISO 31; 2019-09-25 09:56:25
NIKON D850 + Zeiss Milvus 35mm f/1.4 + filter B+W Dark Red 091
ENV: Saddlebag Lake Dam, altitude 10000 ft / 3048 m, 55°F / 12°C
RAW: USM{5,50,0}
1296 | 2592 | 4320
f8 @ 1/500 sec electronic shutter focus stack 2 frames, ISO 31; 2019-09-24 16:39:08
NIKON D850 monochrome + Sigma 14-24mm f/2.8 DG HSM Art @ 14mm
ENV: Conness Basin, altitude 10500 ft / 3200 m, 55°F / 12°C
RAW: USM{5,50,0}
1296 | 2592 | 4320
f5.6 @ 1/40 sec frame averaging 3, ISO 64; 2019-09-22 18:42:01
NIKON D850 monochrome + Zeiss Otus 55mm f/1.4 APO-Distagon + filter B+W Green 061
RAW: vignetting corrected, +100 Shadows, USM{8,50,0}, +10 Contrast, +55 Whites
1296 | 2592 | 4320
f5.6 @ 20.0 sec, ISO 64; 2019-09-22 19:20:10
NIKON D850 monochrome + Zeiss Otus 55mm f/1.4 APO-Distagon + filter B+W Green 061
RAW: vignetting corrected, -100 Highlights, +100 Shadows, USM{8,50,0}, +10 Contrast, +55 Whites

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