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So . . . my newest camera is an Olympus digital "mirrorless" camera, the E-M1II, which has a high resolution ("high res") mode. One sets it up on a tripod, adjusts some arcane settings, pushes a button and then it does its thing.
Its "thing" is the production of a large digital file, the subject of a (very detailed) post by Wrotniak. So here are two examples, but alas, since the photos have been downsized for the blog, we won't be able to see any differences between these photos and regular ones. Yes, I had to use a tripod.
To quote Wrotniak: "While it can (and should) be enjoyed as a piece of engineering art, its practical significance for 99% of photographers (and I mean advanced amateurs and professionals here) is negligible." We'll see. I'm wondering about larger-sized prints.
2 comments:
The search for higher and higher resolution lenses was a major preoccupation throughout the last century.
It drove me to move up to 11x14 and 8x20 formats, in order to attain superior clarity.
Composing on such large ground glasses was a treat in itself, but the object of course was to avoid blur and distortion by making direct contact prints, rather than having the image processed through another set of enlarging lenses.
One of the promises of the digital era in picture-taking has been the possibility of leveraging the higher resolution of pixels over emulsion surfaces. But to make a physical (material) result, still requires some kind of sensitized surface.
It seems in some ways harder to attain a fine print today, than it was using organic emulsions.
I've written about my first experience with digital inkjet printing.
Apparently a big factor in getting satisfactory prints from digital files is how one uses the "sharpening" filter in Photoshop. I have a little routine that I use but I'm not sure if it's optimal.
Also of interest is that I can never predict while photographing which photograph will make the best print. Usually my best image comes while hand holding the camera!
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