New Oly hi-res mode field experience?

[32BT]

Hi People,

Does anybody here have any of the latest Olympus camera's with the highres mode and used it in the field? I would appreciate learning about any experiences re effectiveness, usefulness of that high-res mode in actual use?

[mecrox]

Hi People,

Does anybody here have any of the latest Olympus camera's with the highres mode and used it in the field? I would appreciate learning about any experiences re effectiveness, usefulness of that high-res mode in actual use?

I've used high res mode on my E-M5 Mark II quite a lot. It does work and I think it gives better colour and acuity as well as files which can be printed big. However, I've found it fiddly to set up. A sturdy tripod or surface is essential, not optional. The slightest vibration will start to soften the image. Outside, any movement in the image will show up as blurry bits. This may not be noticeable or matter all that much depending on the image. If there is wind, that means branches/leaves moving and also grass in the fields rippling which on some of my images has started to coalesce - as well as the risk of gusts of air moving the camera very slightly. High-res mode probably works best in a still interior or studio. I expect there could be diffraction issues with some lenses or maybe some older lenses don't have enough resolving power. I've usually employed the Oly 12-40mm f2.8 zoom, a fairly new model.

Overall, not wildly impressed here but then I don't use a studio. Perhaps high-res would come into its own for real estate or architectural photography so long as one could use a tripod and the air was still? Mostly I've used high-res mode for photographing the interiors of old country churches. When reduced for screen viewing, there isn't that much difference between high-res and normal, depending on PP employed. If I wanted or needed high-res files on a regular basis I suspect there would be no substitute for just buying a 36mpx or greater camera.

[armand]

I tried it on EM-5 ii and I have similar thoughts. Needs no movement, in or outside the camera. I tried a longish exposure with slow moving water hoping it will even out but no luck, lots of artifacts.
In a forest with minimal movement it was ok although not the big difference I was hoping for.

From what I've read the EM-1 ii should be better.

[nma]

I also use the high res mode with the EM5.ii. In cases, such as mountain landscapes where there is no movement, it provides exceptional results. The improvements are not subtle. Color and noise are improved, in addition to the resolution. The results are noticeable even at modest print size. 

In cases where there is some movement of elements such as water there will be artifacts. It seems as though it should be possible to correct such minor defects by using the  low resolution .ORI image of the scene that is produced at the same time. One would have to uprez the low resolution image x2 and use a layer mask in photoshop to do the correction.

[langier]

It's a game-changer my travel work! I "won" an EM-D5 II last year and was thrilled to have it!

What others say about having to use a tripod and static subjects is very true. Moving water just doesn't look right and the movement is a little weird... That said, I shoot in high-res raw files always with a tripod. I shoot ancient Orthodox monasteries and churches in my travels, specially iconography and specialty round-fisheye photos. The EM-D5 II has now replaced my much larger system, especially for travel.

From what I understand from the way it does it's thing in the camera, 8 images are captured in a short time frame and then processed into one file, perhaps without the color interpretation required of the Bayer filter mosaic technology.

In shooting my fisheye, a Sigma 4.5mm 2.8, IMO, the 64mp raw files are nearly comparable to shooting my 8mm 3.5 Sigma on a D800.  I've created other photos using both the Olympus and Panasonic lenses and the files are still nice. Granted, the files are different between the two systems but for the size, very comparable.

The high-res mode limits ISO and aperture and I think the latter has to do with programming to limit diffraction limitations of the lenses. For my fisheye and adapter, totally manual focus and aperture, the aperture isn't limited as most likely with any adapted lens.

Some of my photos require HDR so the files start to add up. Raw files come in about 100MB plus the paired JPEG file.

The main advantage for me is that my travel kit is now about 1/2 to 2/3rds the size and weight of my FF Nikon system and gives me more flexibility working in the field.

If you are careful and use good craft, the high-res setting on the Oly is phenomenal, especially for such a small camera!

[TonyVentourisPhotography]

I use high-res mode on the E-M1 mkII a lot.  In a studio with controlled lighting it is amazing.  Outside, the new camera handles movement better than the em5mkII.  Instead of the patchwork designs, it tries to blend in an upresed area from a single file to blend in or something.  Or at least that is what I understood.  Still not as nice as just a blurry leaf moving in the wind.  Not horrendous.  Again, this tech is what it is...multiple shots.  Color accuracy goes way up and noise goes way down.  Even the base ISO grain of M43 disappears in high-res mode.  Its a very clean file.  And if you are outdoors with good light, the camera shoots 8 images insanely fast.  It's impressive what olympus has done.  Don't skip on the tripod though!  Then again, i've done some hand held focus stacking with Oly's built in feature and the camera aligns pretty well.  If there is vibration or movement, it will soften the file a little.  Then again, if you ever shoot with an 80mp back...same applies.  Any vibration or movement and the file will be softer.

Here is the catch... it is still exactly the look of micro four thirds.  So if you expect the crystal clarity resolving of the smallest background items of medium format...then you need a 54mm sensor.  You basically get the same file you are used to from your camera with twice the pixel dimensions, less noise, better color, and cleaner edge details all around. 

At 20mp of the E-M2mkII... I am just fine upsizing with Alien Skin Blow up to get similar results if I need to print from a file that large.  Especially with scenes that have lots of movement.  The biggest gain of hi-res mode is the color and noise fidelity.  It is a really clean file. 

I will probably do some comparisons of this with a large sensor and post on my site soon.  I've been meaning to get around to this for a while.

[32BT]

Okay, thanks for the comments. Very clarifying. It seems a mixed blessing and really needs to be tried to know whether it fits one's needs. I suppose I could borrow/rent one to learn more. I really like Olympus for staying true to their photography heritage. They seem to have their still imaging well under control, as well as the handling and ergonomics. Lot's of lens-choices of course due to m43.

I was hoping the hi-res mode would give me a nice balance between lower res street and candids, yet also higher res option for industrial and corporate stills. It might work. Probably need to test the viewfinder lag as well.

[TonyVentourisPhotography]

Just a quick note when it comes to "corporate stills and industrial"... since a majority of my work is for clients.  Just keep in mind the limitations before trying it with clients.  I would test in normal res at the same settings and then switch to hi res.  F/8 max, 1600 ISO as highest but i would use if i can, and flash sync is limited to 1/50th.  So if you are using strobes be mindful of ambient with that.  Also, make sure you update the latest firmware on the e-m1mkII.  There was a bug where the flash shoe and sync port disabled in hi-res mode to everything but the supplied flash.  They just released the firmware fix for that so all strobes and lights work with the port and shoe. 

As far as viewfinder lag...that is a setup issue.  You can have a lot of lag or virtually none that is perceptible.  The lag is dependent on how several options are configured.  So don't just take the camera as default and think it has a lot of lag.  In fact, the E-M1mkII is probably the best in terms of no viewfinder blackout next to the A9 if that truly has "no blackout." 

[32BT]

Just a quick note when it comes to "corporate stills and industrial"... since a majority of my work is for clients.  Just keep in mind the limitations before trying it with clients.  I would test in normal res at the same settings and then switch to hi res.  F/8 max, 1600 ISO as highest but i would use if i can, and flash sync is limited to 1/50th.  So if you are using strobes be mindful of ambient with that.  Also, make sure you update the latest firmware on the e-m1mkII.  There was a bug where the flash shoe and sync port disabled in hi-res mode to everything but the supplied flash.  They just released the firmware fix for that so all strobes and lights work with the port and shoe. 

As far as viewfinder lag...that is a setup issue.  You can have a lot of lag or virtually none that is perceptible.  The lag is dependent on how several options are configured.  So don't just take the camera as default and think it has a lot of lag.  In fact, the E-M1mkII is probably the best in terms of no viewfinder blackout next to the A9 if that truly has "no blackout."

Thanks. Something to keep in mind for those working with the em1.  For me it would be more like "industrial areas and corporate architecture". Not corporate mugshots fortunately. I do have a need to capture "decisive" moments for street or candid, where i don't mind the blackout, but i do mind the reaction time of the viewfinder. For my purposes the em5 would probably be more than sufficient.

[TonyVentourisPhotography]

That was exactly my point... if you mix strobe and ambient in corporate architecture for correct window exposures with lit interiors...1/50th flash sync can be very difficult to work with at F/8 ISO 200.  That can often mean a whole lotta light.  Sometimes it is easier to shoot a true HDR exposure...meaning three separate ambient Hi-Res shots manually bracketed and a light painted interior, or add flash from a separate shot in order to composite. 

Otherwise, if you conditions land within the range of limitations or you just shoot ambient, then it is quite great.  The color accuracy is much appreciated in an architectural setting.

[tim_mcentee@hotmail.com]

Had a play with the omd1 mk2 and can say when it works, the results are impressive.

Just to understand what is going on with the camera blur. Each​ pixel is 6 microns, the camera shifts about 3 microns up and across for each of the 8 photos. If your camera moves by 1 micron then the alignment will be off.

So my walkabout tripod thay happily handles a heavy mamiya 645 with along lens, is not stable enough for high res shots. My studio tripod is. But you can't lug that around.

So let's hope oly comes up a firmware update that can get image stabilisation to work with the image shift technolgy so light tropds can be used. Hand held high res is a fancy.