Every so often you come across a piece of software that redefines what you accepted as the rules of photography. Something that makes you think how on earth did they do that. Well I may have stumbled across such a software package and it’s called Photo Acute.
In brief this is a software package to blend multiple exposures together but it’s a little different to other packages of this type that I have seen. Yes it does HDR and yes it does focus stacking to achieve greater depth of field. It will remove chromatic aberration and it also does noise removal in a way that differs from standard packages.
What really grabbed my attention however is the way is can multiply the size of your image and pull in new detail by blending together multiple images. This isn’t however simply a resizing of the image, it actually generates additional detail – at least that’s what the blurb on the website says and it does present some strong examples. Interestingly, when I tried it the new image appeared to also be sharper than the original as well as twice the size in both dimensions.
Given the limited pixel count of some great compact cameras e.g. the LX5, this is a great way to enlarge your images.
To make the package work its magic you simply need multiple identical shots of a scene. They can all be the same exposure (unless you are doing HDR) and they can all have the same focus point (unless you are doing focus stacking). With between 2 and 8 images the blending generates a new resized image. The more images you blend the better the results but the longer the processing so try 3-4 images.
I haven’t posted an example here as I don’t have any multiple shot images that are good enough. There is however a free download of the software that you can try out on their website. When I am feeling better and I can get out again I will carry out some experimentation.
I recently posted an article discussing how micro 4/3 cameras could achieve good depth of field at relatively wide apertures. This also stressed how the common advice to stop down the lens to a small aperture was misleading and probably resulted in poor lens performance and loss of image sharpness. Well, now it’s the turn of the LX5.
The LX5 is a compact camera with an oversized sensor and a great Leica lens that’s the equivalent of a 24-90mm lens on a full frame camera. Despite its oversized sensor, this is still much smaller than the Micro 4/3 cameras, which gives the LX5 a much greater depth of field at the same aperture.
I can only describe the lens on the LX5 as extraordinary in terms of sharpness and its ability to resolve detail, even in distant subjects. It has an aperture of f/2.0 at its widest to f/8.0 at the smallest. The f/2.0 can only be achieved with the lens set to the equivalent of 24mm. At the other end of the zoom range the widest aperture is f/3.5.
From my observations when using the LX5, the camera produces good images at any aperture and is certainly usable wide open (f/2.0). If I stop the lens down it start to hit its sweet spot by f/2.8 and performance begins to drop off after f/4.5. The question then, is how much depth of field do you get with f/2.8 and the lens set to 24mm (I am assuming here that you like I spend most of your time photographing landscapes)
To answer this question I am not going to resort to a depth of field phone app as I did before, but use a feature built into the LX5 which not only shows me the depth of field but allows me to set the hyperfocal distance. In case you’re not familiar with the term hyperfocal distance, this is the theoretical focus point that gives the maximum depth of field for your aperture/lens right the way to infinity. Here are the steps:
- Select the Aperture Priority mode (A) on the top dial of the camera.
- Switch the camera to manual focus using the switch on the side of the lens. When you are in Manual Focus, MF will appear in the bottom right of the screen.
- Press the rear adjustment dial on the back of the camera (top right) until the MF is highlighted. This is the dial that allows you to adjust the aperture and if you keep pressing it in you will cycle through aperture adjustment, exposure compensation and manual focus settings.
- Rotate the dial to the left and right. As you do this you will see a depth of field guide appear on the bottom of the camera screen with a solid yellow line that moves left and right. This line represents the zone of focus at the aperture and focus length selected.
- Move the dial left and right until the yellow line just touches infinite focus on the right hand side. You have now set the focus to give the maximum depth of field at your aperture and focal length.
To give you some idea of how much depth of field you can achieve at 24mm and f/2.8, you will find the closest point in focus is just over a meter away and the zone of sharp focus extends to infinity. Now the other benefit of shooting at f/2.8 is that you will achieve a very fast shutter speed and can hand hold even in poor light as well as reduce the risk of camera shake.
By way of an example, the night shot above was taken from the top of the Empire State Building hand held using ISO200 and f/2.8. Its pin sharp and prints beautifully at A3+. I have even passed it off at various presentations around the UK as being shot with a 5D MKII. I do always own up later as its great fun to see people’s faces when they realise it was shot with a compact camera.
The other night I received a number of emails that reminded me how people involved in Landscape Photographers are failing to move with the times. It used to be that you would start photography using a 35mm film camera and in time, if you were interested in Landscape Photography you might move up to a Medium Format camera. Finally, if you were taking your Landscape Photography seriously and ultimately wanted to turn pro, you would use a large format camera which gave a number of benefits such as image size and camera movement. In truth for many, the camera movement was mainly necessary in order to get proper depth of field and stopping down the lens to a small aperture e.g. f/64 just wasn’t sufficient.
What prompted me to think about this last night were a number of emails I received showing relative newcomers to Photography posing next to their new large format cameras. This caused me to wonder if they had a specific reason to migrate to the large format camera or if they were just following the well trodden path of landscape photographers in the past.
In the past, large format equipment meant exceptional image quality and detail together with huge depth of field; all the things the landscape photographer needed. It still does equate to these things however there are other routes to achieving great landscape results. I can show you images that I have shot with my GX1 using a 28mm lens set to f/7.1 where the rocks at my feet are sharp and detailed, as are the distant hills. This is one of the advantages that having such a small sensor brings; incredible depth of field even at quite wide apertures.
As for the question of detail and resolution, I can upscale my prints to 30 inches and it’s got just as much visible detail as the file printed at the native size. Why, because the printer is the limiting factor. If I can see the barbs on a barbed wire fences when I view the image at 100% on screen, then I might need to print the image at double its current resolution or more before I can see the same barbs in the print. The limitation is therefore the quality and resolving power of the lens and the ability of the printer to print the detail.
I should stress that there is nothing wrong with large format cameras and that a micro 4/3 camera can’t compete with the image resolution from a large format camera, but do you really need all that extra cost, weight and time investment if you don’t print larger than say A3+?
I will however admit however that it doesn’t look quite the same when I am posing for a promotional shot with a tiny GX1 as opposed to a large format camera.