I get a headache just reading this thread. Why don’t you guys just go and take
some pictures?
Cheers,
Nathan
Nathan Wajsman
Alicante, Spain
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YNWA
> On 14 Sep 2016, at 16:34, Ken Norton <ken@xxxxxxxxxxx> wrote:
>
> At the "per-pixel" level, my ancient E-1 and the 6D are a pretty close
> match. Sharpness in the E-1 is variable depending on the color and
> brightness level, where it's more uniform with the 6D. That has less
> to do with the sensor and more to do with the converter algorithm. The
> Adobe algorithm I'm using is doing a 3-pixel merge on the 6D (nearest
> neighbor, creating a phantom pixel at the intersection), where the E-1
> is a 4-pixel merge with replacement RGB values for the monochrome
> 12-bit value. The E-1 is forced to the 4-pixel merge because of the
> two-color green sensels. The 6D sensels are sensitivity balanced for
> the clip point, where the E-1 sensels are sensitivity balanced for the
> midtone. The 6D is far more uniform in sharpness from shadow to
> highlight than previous generations of Canon DSLRs and actually is a
> pretty good match to the E-1 in shadows where CMOS sensors have tended
> to produce mush in the shadows. (The E-1 tends to produce mush in the
> highlights).
>
> I mention all that because it's really hard to do a direct comparison
> of these two cameras in regards to resolution because there are so
> many other variables that affect the resolution unless you are
> comparing with a fixed monochrome line-bar lens-resolution test chart
> like DPReview uses. You can have a camera that nails that test but
> fails miserably in real-world images. This is why images from the
> Foveon sensor out perform everything else out there in the "real
> world" in regards to uniform resolution regardless of color and
> brightness.
>
> So, back to the E-1 vs the 6D. The pixel-pitch is very close to the
> same. That means that a 4/3 crop from the 6D will be a very close
> match to a native 4/3 image from the E-1. And in real-world shooting,
> it does some of the time, subject to the color/brightness variables
> mentioned above. This is a situation where pixel-pitch is a nice guide
> or reference point, but means less in real-world shooting. Just
> increasing the surface area (6D) should theoretically be equal to a
> multi-frame pano stitch from the E-1. Sometimes it is, sometimes it
> isn't.
>
> Increasing pixel density should theoretically improve resolution. Per
> lab tests with monochrome test charts, that would be true. But let's
> look at the 7MP Panasonic L1 and compare it to the 10MP Olympus E-3.
> In real-world shooting, the L1 out resolves the E-3 almost every time.
> (is it possible that this sensor in the L1 is the hidden gem of the
> 4/3 world?).
>
> To the subject of diffraction, I have personally found that pretty
> much without exception that the diffraction algorithm is off by a full
> stop when shooting digital. This is because of the AA filter and the
> converter itself. I have also found that with few exceptions, the
> diffraction algorithm is EFFECTIVELY off by two stops with digital
> because of sharpening tools available. The diffraction Airy Disk is
> not a fixed Gaussian Blur, but a wavelength-sensitive reduction in
> contrast at the pixel level.
>
> AG Schnozz
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