Showing posts with label 5D Mark III. Show all posts
Showing posts with label 5D Mark III. Show all posts

Thursday, March 12, 2015

Big Price Drops from Canon and new Coupon Codes

Click here to see the newsletter with all of the deals this week. Here’s an example of just a few, but more are included in the newsletter…

Canon 5D Mark III Instant Rebate & 2% Reward


$300 off plus free extras (1 option includes a printer & case)

See my review of this product

This offer expires on March 28, 2015

Canon 7D Closeout Sale


Save up to $850


This offer expires on While supplies last

Athentech Perfectly Clear Special Offer

Athentech Perfectly Clear Special Offer
Save 10% off Athentech Perfectly Clear with Coupon Code: RONMART

Where to order

Click here to see the newsletter with rest of the deals this week

Disclosure

If you make a purchase using links found in this article, I may make a commission. It doesn’t cost you a penny more, but it does help to support future articles like this.

Thursday, October 30, 2014

REVIEW: Nikon D750–Yeah, it’s better than my 5D Mark III (Part II of II)

In the first part of my review, I expressed how impressed I was with this camera. Despite being crippled by a mediocre kit lens for this review, I’ve been very pleased with image quality and dynamic range for the shots I’ve taken with it.

In this final installment of my review, I’ll focus more on some of the technical aspects of this camera and discuss how I feel it compares to some of the other cameras I’ve tested.

Mug Shot Test


f/8 @ 120 mm, 1/200, ISO 100

Unedited in-camera JPEG – click for the full size

Knowing that this camera has great dynamic range, I decided to put it to the torture test using a model with dark eyes and a black background just to see how many tones it could capture. As you can clearly see from above, the D750 knocked this one out of the park.

I can clearly distinguish the pupil from the iris in the eye as well as all the shades in the models hair. Even the black background shows a buttery smooth series of tones.

While this is certainly no Otus 85mm lens, I was plenty satisfied with the detail captured on the skin (sorry Julia!) and the eyelashes.

In short, this camera nailed the mugs shot test, so one could only hope the DMV will start using these – or maybe not!

Bookshelf Test


f/5.6 @ 50 mm, 1/13, ISO 12800, No Flash

Click for the original to fully appreciate the high ISO performance

Overall my testing revealed that image quality and tonal range are fantastic in the ISO 100-12,800 range. When you go into the high modes of 25,600 and 51,200 the dynamic range begins to suffer, but even with in-camera noise reduction results in a usable image.


f/5.6 @ 50 mm, 13s, ISO 100, No Flash

This is the sweet spot of the lens that I tested,
so click for the original to see the best image I could get with the kit lens

Unlike a lot of Nikon’s I’ve tested which tend to have either overly bright or dark metering, I found this camera to have a nice happy medium. With that said, I did get some unexplainable shifts in brightness and color when using auto white balance and matrix metering during my bookshelf testing. This is really my only complaint with this camera, and hopefully this is something that will sort itself out with a future firmware update.

Compared to the 5D Mark III

I own and love the Canon 5D Mark III, and without question it’s definitely one of the best Canon’s ever made. However, it is not without flaws. Do I think the Nikon has leapfrogged the 5D Mark III? YES! The overall dynamic range offered by this camera creates a wide spectrum of natural tones that is more true to life straight out of the camera than what I get out of my 5DM3. While I still prefer many features and characteristics of the Canon, for now this is the new defacto standard for parents, event and travel photographers who really want the best image quality possible.

While personally I don’t give a hoot about video from a DSLR, I still think the movie industry support around Canon probably gives it an advantage. However, I can’t imagine any D750 user being disappointed with the video performance with a sensor that is this good.

What should a 5D Mark III owner do? My advice is to save your money. Inevitably Canon will have a response and for now you have a great camera that’s not worth taking a big loss on – especially if you’ve got a good investment in lenses. Think of it a bit like you are driving the 2013 version of your dream car and your neighbor gets the 2014 model which has some nice new bells and whistles. While it sucks not to have the best product possible, you probably wouldn’t sell your car just to upgrade. I think the same philosophy applies here, so enjoy what you have and spend your money elsewhere – God knows there’s a lot of other ways to spend your money on photography gear and software, so don’t waste your money trying to keep up with the latest camera.

Skip the Kit Lens


Nikon AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR Lens

My favorite “cheap” zoom lens for starter kits

I wasn’t a big fan of the kit lens, so I’d advise to go body only and get something else. I definitely liked the Nikon AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR Lens that I tested with the D600 – it was surprisingly good (and cheap). The AF-S 24-70mm f/2.8G ED is the lens to have if you can afford it, so if you are just starting out I’d consider either of those as better choices over the 24-120mm.

Conclusion

If you have an investment in Nikon lenses and are wondering if it is time to upgrade your camera body, I’d say it depends. While I personally wouldn’t take a loss on a perfectly good D600/D610, I’d certainly upgrade any other Nikon besides the D800/D810 and D4/D4s up to this one – if you’ve already bought all of the high quality lenses you are ever going to buy. Great lenses make the most of any camera body, so I always recommend spending extra funds on glass before camera bodies.

With that disclaimer out of the way, owners who do upgrade are going to be delighted. Those frustrated by some of the limitations of the D600/D610 might also find it a worthwhile upgrade, despite that being an excellent camera in its own right.  I can definitely say that as a fan boy of the D600/D610, I found myself very excited to see that my minor quibbles about those cameras had been addressed leaving me with a camera that I’d probably buy if I didn’t have an investment in Canon lenses.

For those who believe DXOMark sensor scores are the word of God (and I don’t), they ranked the D750 as #6 under the D800E, D800, D600 & D610. While I’m sure in their own scientific way this makes sense to them, I can say that to my eyes in real world scenarios I find the D750 to be a overall better performer at higher ISO’s than the D800’s and about the same as the D600/D610.  As a result, I continue to say these sensor scores are non-sense in the real world so take them with a grain of salt. The D750 is a fantastic camera that will definitely not disappoint, so without reservation I highly recommend it.

Where to order

Click here to learn more or order the D750 on the B&H web site.

Other articles you may enjoy

If you enjoyed this article, you may also enjoy these:

Disclosure

If you make a purchase using links found in this article, I may make a commission. It doesn’t cost you a penny more, but it does help to support future articles like this.

Monday, May 5, 2014

REVIEW: Nikon D4s-Real World Autofocus Challenges from a Canon 1D X Shooter (Part II)

Nikon D4S DSLR Camera (Rear View)
Nikon D4S DSLR Camera (Rear View)

I’m a parent of three kids, so I’m very in tune with the reality of parenthood. While most parents couldn’t possibly afford a camera at this price point, much less all the lenses and accessories to go with it, it’s a sad fact that this is the best camera I’ve used for all of the tough situations life throws at us parents. Mom’s and Dad’s out there, you know what I mean – the kids indoor activity under horrible gym light conditions, kids swinging on the swings on a dark, overcast day, trying to catch a special moment of your active child with only a room lamp and perhaps the TV being the only light source. Many situations like are where parents discover that f/2.8 usually means that you are lucky to get 1/125 sec at ISO 12,800, so the odds are stacked against you if you actually need depth of field or want to freeze action. What’s more, with anything but the fastest focusing lenses means that your AF system is typically hunting for its life to find contrast in the scene to lock onto.


f/3.5 @ 105 mm, 1/400, ISO 4500, No Flash

Yeah, these are scenarios that will make even the best Pro Sports Photographers fail because there’s no super bright stadium lights, or wireless lights ready to fire. It’s just you and the camera often without a flash or in scenarios where an on-camera flash alone just isn’t going to cut it. They are spontaneous and they aren’t planned, so the best parents will know to go to manual and dial in the aperture they need, set the ISO to auto, and the shutter speed necessary to freeze your active little bugger and hope for the best. With point and shoots, cell phones, and most consumer grade cameras the result is often a blurry shot, a unusably dark shot, or if you are lucky a noise filled shot that the photographer in you would never want to show anyone in the real world. Yeah, the real toughest job in the photography is being a parent (or grandparent) of an active toddler/pre-schooler, so I quickly fell in love with the Nikon D4s. It’s really one of those rare things in life where you can throw money at the problem and see results.

These realities made me try hard to see how this AF system would withstand the tough challenges of life. As parents we don’t have time to fiddle with controls or get lights set just right. It’s whip it out, shoot, and put the camera away before you get the evil glance from your significant other.Success is expected, but rarely achieved with modern day cameras so would the D4s be up to the task? The D4 wasn’t, and until now the best I had tested was the Canon 5D Mark III and 1D X, but neither of those cameras were entirely without fault. Would the D4s finally be “the one” that could handle everything that life throws at it?

What follows are real world scenarios where I feel I gave the D4s some difficult, but realistic challenges. The images are taken from in-camera JPEG’s and have not been modified in any way from how they came out of the camera. I did leverage some in-camera features to get the best results, but better results are certainly possible if you want to invest the energy in the RAW files taken with each of these shots.

Most shots were taken with the Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II Lens, but some 50mm shots were with the Nikon AF-S Nikkor 50mm f/1.4G Autofocus Lens. Unless otherwise stated, no flash was used and most shots were with most camera defaults in manual mode, single AF point (usually AF-C with Active Matrix Metering), and Auto ISO. White balance is typically Auto White Balance (AWB – Auto2 Warm) or Shade. The picture control was Vivid for the Easter Egg Hunt, but Standard for the rest. High ISO Noise Reduction was Normal for all but the shots taken on or after May 2nd where I reduced it to Low.

Easter Egg Hunt

The tough part about an Easter egg hunt is that kids move quick and unpredictably. They often pass obvious “next stops” and seem oblivious to some eggs around them. They run erratically and move quick, so there’s little time to think. Auto-focus systems love to get confused and focus hunt under these conditions, and minimum focus distance is your biggest enemy.


f/2.8 @ 70 mm, 1/500, ISO 100

When I acted quickly, I was rewarded. The AF system often locked on fast and captured exactly what I was aiming to get – faster than I could think about it.


f/2.8 @ 85 mm, 1/500, ISO 110

Getting perfect framing, a cute look and perfect focus all in one shot isn’t easy (as I only have focus here). However, knowing your camera can do its job makes it easier for you to focus on your job with framing and the burst mode handles the luck side of things – getting the perfect expression.


f/2.8 @ 200 mm, 1/500, ISO 100

Kids switch directions instantly, but the AF system was always up for the task. My only fault as a photographer was framing and sometimes not having the right shutter speed for the action (1/1000 sec would have been a better choice this day)


f/3.2 @ 200 mm, 1/500, ISO 140

At first I was shocked when only this frame out of seven was in focus, but after the perfect performance thus far I knew it had to be me. Sure enough, I forgot I had switched into single shot (AF-S) mode (a Canon requirement) when the action stopped, and I forgot to go back to continuous (AF-C) when the action resumed. As a result the camera did what it was supposed to do and what I told it to do, not what I wanted it to do. That was my bad, so all was well.


f/3.2 @ 185 mm, 1/500, ISO 160

While I was having a hard day with my framing, the D4s did its job very well.


f/2.8 @ 170 mm, 1/500, ISO 110

The odds may have been stacked against me with the framing and background distractions, but I was extremely satisfied with the AF performance from this hunt which lasted roughly 5 minutes.

Out of 188 shots, the only ones that weren’t on perfect focus were the ones where I tested out group mode. Group mode did a good job of keeping my son in focus, but often times it wasn’t where I wanted the focus to be (his shirt or his basket – with a blurry face). It never had any total misses, so I’ll take that. I also could have used a faster shutter speed for some of the action to get the best results, but overall I was very satisfied with the AF performance in this test. 

I had done a Easter Egg hunt the previous week in very bad weather conditions using SIGMA 120-300mm f/2.8 DG OS HSM | S with my Canon 1D X  (see http://photos.ronmartblog.com/sigma/120-300mm) and while it performed very well too, I didn’t have this level of success with the unexpected transitions. I didn’t have the same great light, but I did feel like this Nikon lens and camera combo certainly bested the Canon / SIGMA combo.

Dandelions

Kids love to blow dandelions, but parents often find it tough catch this carefree moment of innocence in the act. This requires both a fast burst mode and an intelligent autofocus system that won’t shift focus to the flying seeds. The first shot was easy due to ample light, but to get the best results under tough lighting conditions I had to go to the fastest burst mode without shooting RAW to avoid having the buffer fill up on me too early. My preferred, RAW+JPEG, wasn’t an option, and for reviews I use JPEG’s so I couldn’t do full RAW only. The D4s could have handled just RAW, which is what most people shoot with, so RAW shooters shouldn’t be stressing out here – yes, there’s plenty of buffer in the D4s before it bogs down – in JPEG only or RAW (14-bit lossless compressed) only shooting conditions.


f/3.2 @ 92 mm, 1/500, ISO 100


f/2.8 @ 185 mm, 1/320, ISO 2000

Under less than perfect light, my first set of tests resulted in 50 of 50 perfect in focus frames.
In my second set of tests, I got 92 of 92 perfect in focus frames. My favorite frame is shown above.


f/2.8 @ 185 mm, 1/320, ISO 1800

In the final test with four dandelions I took a single burst of 84 frames, but half were soft but the primary area of focus was on my son. I was using group mode this time instead of a single AF point and it seemed to favor his sleeve with the logo more than his face. The Single AF point on the eye is the right choice for this scenario, but I was getting cocky to see if it could pull it off. Focus was NEVER on the background or the flying seeds, so I’d still consider this a success.

Overall, I’d say this test passed with flying colors. The buffer never hiccupped in JPEG only mode and group mode proved to be very good, but not magical as some have suggested on the web.

Running

Athletes run predictable patterns with grace and form, but children run wild with carefree abandon. As a result there are no rules. Running wild switching directions with no obvious pattern and lots of distractions are normal, so you often find yourself getting a fast shutter speed set, turn on burst mode and hope for the best.


f/2.8 @ 200 mm, 1/1000, ISO 140

While this frame may not convey the difficulty of this shot, trust me when I say this was a tough one because my son was zig zagging without any predictable pattern with all his extremities doing something different. This is a classic case where the AF system will typically give up and focus on the background for a frame or two, but it never did. This is a VERY tough shot to get in a series, and it did. 26 of 28 frames were in perfect focus, and the two that weren’t I blame group mode once again for favoring my son’s waist over his face. I wasn’t mad at group mode though because I’ll take 26 of 28 any day for a tough challenge like this as I suspect that’s better than I would have done with using a single AF point.


f/2.8 @ 200 mm, 1/1000, ISO 100

This was one of those situations where you say “where the heck is my child”, then you hear some screaming coming your way. I pointed and shot with no time to think or prep and nailed it. The exposure was a bit dark, but that’s an easier post processing fix than a blurry shot so I was very satisfied.


f/9 @ 200 mm, 1/1000, ISO 1000

The subject here is my wife with a single AF point locked on her. It’s not especially challenging but sometimes items like her shawl can shift and throw the AF system off. You can tell by her toe nails that she’s clearly the target subject here, but in the next shot below you see that the AF stays put like it should.


f/9 @ 200 mm, 1/1000, ISO 800

Sometimes AF systems will see the brighter foreground person and choose to switch focus to them, but the D4s stayed locked on the intended target despite the black shirt, flying shawl and minimal separation between the two subjects. I can get this result with my Canon cameras, but I have to choose the right AF settings to do so. The Nikon D4s just did it without my input, so I was very pleased about that!


f/3.5 @ 195 mm, 1/400, ISO 100

Group AF started off okay, but I was thinking I needed a faster shutter speed…


f/3.2 @ 195 mm, 1/400, ISO 100

…for the next frame the AF system just got totally confused…


f/3.5 @ 195 mm, 1/400, ISO 100

…then it got confused about what the subject was…


f/3.2 @ 195 mm, 1/400, ISO 100

…then it magically found my subject and nailed the focus. This sort of AF confusion isn’t uncommon on all of the camera’s I’ve tested (including the D4), but what was remarkable was how quickly it recovered from utter confusion. Sadly, it lost it again. Oddly enough this was a 13 frame set where 7 shots were not in sharp focus (with 5 complete misses). I’d later discover that this running away from the camera seemed to be a weak spot from an otherwise excellent system!


f/2.8 @ 200 mm, 1/1000, ISO 250

Even with an unexpected cut and jump on the return run towards me in identical conditions, I got 58 for 58 frames (at RAW+JPEG) in perfect focus with no buffering problems.


f/2.8 @ 92 mm, 1/200, ISO 160

Even here where my son just randomly jumped the fence, I was able to grab a perfect focus on his eye with a single AF point. I was very happy that the D4s did exactly what I wanted, and the motion blur introduced by me honestly not being ready for this shot was perfect to show the action of the moment. I couldn’t have done better had I staged this shot.


f/2.8 @ 70 mm, 1/1000, ISO 100

How often is the shot after the slide series a total blur? Often! Not today though, and that was the theme for the day for nearly everything.


f/2.8 @ 200 mm, 1/400, ISO 560

Yeah, this is the real deal! Running in the bushes with tons of distractions and branches and the AF system just nailed it – over and over.

Running away shots with busy backgrounds (while in group mode) was the only thing I could do during all of my testing in outdoor conditions (both sunny and dreary weather) to trip this camera up. This AF system is the real deal and very impressive for running.

If you shoot high school track where the conditions can be super tough – especially in bad weather –  I think you’ll be quite pleased!

More Articles

Please read the other articles in this series:

Where to order

Click here to learn more or order the D4s on the B&H web site.

Other articles you may enjoy

If you enjoyed this article, you may also enjoy these:

Disclosure

If you make a purchase using links found in this article, I may make a commission. It doesn’t cost you a penny more, but it does help to support future articles like this. The D4s for this review was loaned to me by B&H and the 70-200mm was loaned to me by Nikon USA. Like all my reviews, I am not being paid for this review nor has anyone been allowed to preview this review before it was published.

Sunday, March 9, 2014

Don’t Forget To Change Your Camera Clocks!

Time Change-1

It’s easy to remember to change your household and car clocks, but if you are like me it’s pretty easy to forget to change your camera clocks. As I went through this exercise this morning, I discovered that one of my cameras had the correct time – because it had be wrong since the last time change – ha, ha!

Have a great day!

Ron

Friday, February 28, 2014

HDR Efex Pro 2 vs (Photomatix 4.2.3, Photoshop CS6, Canon 5D Mark III In-Camera HDR and HDR Efex Pro 1)

Use coupon code RonMartBlog to save 15% off Photomatix products. See more offer details at the bottom of this article.

Test System Information

All tests were done on 64-bit Windows 7 with the 64-bit version of Photoshop CS6 (13.0). Here are more details and the Windows Experience Index Score (0 – 7.9 scale):

Test Machine

All of my plugins run on a standalone SSD drive and my caches are on dedicated SSD drives. My slowest drive is my primary hard disk which is a 7200 RPM SSD and Mechanical Hybrid SATA drive.

Original Images

Visit my HDR Efex Pro 2 review and see the Original Images section to see which images were used for this test. They were three CR2 RAW files taken with a Canon 5D Mark III at -3, 0, and +3 exposure values (EV). The total size of these three exposures was 83.9 megabytes.

Canon 5D Mark III In-Camera HDR Processing


Canon 5D Mark III In-Camera HDR processing of all three exposures

In my May 16, 2012 article I declared that Canon 5D Mark III HDR is good, but Photomatix Pro 4.2 is still the king of HDR. At that point in time the HDR Efex Pro 2 beta was still pretty rough around the edges, so Photomatix really was still the king.

Speedwise, the Canon 5D Mark III wins because only takes a few seconds for it to create an in-camera JPEG of your bracketed shots. For the HDR Mode feature of this camera, I use the following settings:

  • Adjust dyn range: +/- 3 EV
  • Effect: Natural (I’d rather do my post processing on the computer)
  • Continuous HDR: Every shot
  • Auto Image Align: Enable (never, ever disable this – even with at tripod)
  • Save source imgs: All Images

The final JPEG is impacted by the cameras picture style (I use standard) as well as other settings, but this shot was most hurt by my using the auto white balance (AWB) instead of warmer white balance like cloudy.

I really like the in-camera results and use them often, but the limitation is that it doesn’t to ghosting well (and you can’t control manually) and it tends to crop the image even when it seems that it isn’t necessary (i.e., a tripod was used).

I think the value of tone mapping and tone compression still favors the computer over the in-camera HDR, but it does a damn good job that might be “good enough” for some of your non-business critical work. I should also note that Canon point and shoots do terrible for this unless you are shooting a static subject using a tripod, but the DSLR’s really seem to do HDR very well.

For what it’s worth, I’ve processed the images used in the 5D Mark III HDR article in both Photomatix and HDR Efex Pro 2. Each time I process a photo start to end, I do different things with it, but it’s interesting to see how well both products did here in a head-to-head comparison:

Mouse over to see before, mouse out to see after
Mouse over for the Photomatix 4.2 version
Mouse out for the HDR Efex Pro 2 version

Both final results feature some post-processing using other Nik Software and Imagenomic products.

Performance Comparison

This section discusses the time it took to render the bracketed raw test images using default processing.

Photomatix Pro 4.2.3 (Review) – 56.8 seconds max

Mouse over to see before, mouse out to see after
Photomatix 4.2.3 Edited Version (mouse over to see default version)

Click here to see the large size edited version, and click here to see the full-size default processed version.

Image Merge Time (47.9 seconds MAX)

Here is the amount time it took from the moment the OK button was clicked in the Preprocessing Options dialog:

47.9 sec with everything checked like this:

Photomatix Prerocessing Options Dialog

42.9 sec with no noise reduction as follows:

Photomatix Prerocessing Options Dialog (No noise reduction)
26.0 sec only ghosting high as follows:

Photomatix Prerocessing Options Dialog (Only ghosting support)
and 12.2 sec with no options checked.

Tone Mapping Processing (5.7 seconds)

HDRSoft Photomatix 4.2.3 Tone Mapping UI

After your images are merged, you end up in the tone mapping user-interface where you do the real work. Once you are ready to have an image to edit in Photoshop, you click on the Process button. To get this image ready for editing elsewhere took only 5.7 seconds.

Ready in Photoshop CS6 (3.2 seconds)

Since the merge processing has to occur in the stand alone app, a true fair comparison should include the time it takes to save the intermediate file in Photomatix 4.2.3 and load that file in Photoshop (to have parity with the other tested apps). While Photomatix does offer a tone mapping Photoshop plug-in, the real work is done in the stand-alone app. Fortunately Photomatix makes this process easy using the “Open saved images with” option in its Save As dialog, so this process only took 3.2 seconds.

Photomatix Save As Dialog

The maximum total time it took from start to finish in HDRSoft Photomatix 4.2.3 was 56.8 seconds.

HDR Efex Pro 2 (RC1) (Review) – 79 seconds max

DISCLAIMER: I was using pre-released software so final times may be faster

Mouse over to see before, mouse out to see after
HDR Efex Pro 2 Processing
(with some Content Aware Fill on the ceiling)
Mouse over to see the 0EV exposure and mouse out to see the processed version

Visit my HDR Efex Pro 2 full review for more info about this product, but the bottom line is that the image selection dialog took 24.6 seconds to load the images into the merge dialog. This was really the process of doing a batch processing of the raw files and getting them created as TIFF images that are then used for the merge dialog. RAW files or going straight from Lightroom 4.x speeds this up, but this is definitely one of the bottle necks.

Once you have the merge dialog up you make your adjustments and then hit the create HDR. This is much like the pre-processing options for Photomatix and HDR Efex Pro 1. To do this it took 24.1 seconds after hitting Create HDR button (with all options checked). If I only did ghosting control then it only 16.1 seconds after hitting Create HDR button.

The real pain point is that once you are done you have to send the file to Photoshop for further editing (or back to Lightroom). This is took a staggering 30.3 seconds after hitting OK.

At first this all sounds really slow, but the all important “time before you can start tone mapping” was 48.7 seconds. This puts it on par with Photomatix, but it feels faster because of the interruption of the merge dialog.

You still have to pay the tax at the end, but the good news is that even with that it’s faster than its predecessor.

HDR Efex Pro 1.203 – 96.1 seconds max

HDR Efex Pro 1

The number one thing I hated about this product was its horrible performance, and doing this testing reminded me why. It took 65.8 seconds after hitting Create HDR button (all options checked) (or 9.0 seconds after hitting Create HDR button with just ghosting checked). Of course, the ghosting support in this product was as bad as the in-camera result, so some probably found it better to run it with no options. 

Once you are done tone mapping then it took 30.3 seconds after hitting OK before you were ready to work in Photoshop.

This app is just a slow turd that is a headache to use, so I’m glad to bid it farewell in favor of its faster and much better replacement.

Adobe Photoshop CS6 Merge to HDR Pro Feature – 31.3 seconds max

Mouse over to see before, mouse out to see after
Photoshop CS6 Photorealistic Edited Version (mouse over to see default version)

Click here to see the large size edited version, and click here to see the full-size default processed version.

Adobe Photoshop CS6 Merge to HDR Pro Dialog

It took about 19.6 seconds to get from the dialog above to the Merge to HDR Pro tone mapping UI (which has to be the worst ever user-interface in my opinion).


Ghost reference image feature exists here too (notice the green box around 0 EV)

After clicking OK here it took another 11.7 seconds before I could work on the image in Photoshop. This makes Photoshop the fastest thing outside of the camera processor to make an HDR image. Its feature set and usability suck, but if you are tight on cash then it can get the job done in a hurry. Personally I never use it though.

Conclusion

After spending time with all of these products, I still respect what Photomatix brings to the table but HDR Efex Pro 2 isn’t terrible anymore. This is a big statement too because I didn’t care for HDR Efex Pro 1 due to its complex UI and sluggish performance. Those issues have been addressed such that it’s now my go to product. Photomatix still does a great job and its ghost selection mode feature shown below is something I really wish Nik would have added to HDR Efex Pro using U-Point controls:

Photomatix_4_2_3_SelectionMode
Photomatix_4_2_3_SelectionModeMenu

I’m finding myself doing more HDR’s now thanks to the Canon 5D Mark III’s built-in HDR feature which keeps the bracketed exposures (in JPEG + RAW if you want) in addition to the file it creates. The in-camera file gives me an idea of issues I might run into at home using software, so I can identify issues in the field that I’d normally miss (i.e., gross alignment issues like the one below):


In-camera HDR is no gimmick – it can help you spot alignment issues in the field

Photoshop CS6’s speed makes it an option for those who are on a tight budget or who enjoy its nasty sliders, but realistically it’s just not for me. It may be fast, but I just take longer to get the results I want with it which negates its performance benefit and I’m rarely happy with the final result.

Special Offer (15% Discount)

Visit my discount coupon code page for the latest code and offer details.

HDRSoft, the makers of Photomatix HDR tone mapping software have extended an offer to readers of this blog for a 15% discount when you use the coupon code RonMartBlog when you checkout on their web site (see picture above). Don’t forget to click the recalculate button after you enter the code to get the discount.

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