:-)
> On September 14, 2016 at 3:20 PM Nathan Wajsman <photo@xxxxxxxxxxxxxx> wrote:
>
>
> 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
> http://www.frozenlight.eu <http://www.frozenlight.eu/>
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> YNWA
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> > 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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