Home Photography Sony a7R III Pixel Shift Shooting & Processing Tips

Sony a7R III Pixel Shift Shooting & Processing Tips

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  1. I've used the pixel shift for months, hundreds of images. The Sony software may perform pooly, but it is slow as cold molasses and crashes a lot, too. Tony, I've found that even though my house is solid and I have the camera etc. almost over the foundation, my heartbeat causes enough vibration, through the bottom of my chair, floor, and up the table, to ruin pixel shift exposures. When you get them right, the comets and fortunes align, it's fantastic. But what a pain to use.

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  3. The definition of a dumbass is someone who knows a bit about something but is utterly incapable of explaining it to another. Now: Get a mirror and look into it as a third grader reads the rest of this comment. The Sony a7riii does NOT allow using the pixelshift mode when it is set on “automatic.” Automatic is the place where every single god d$&@nmed user of the Sony a7riii lands when they first turn on their new camera. Moreover, out of the HUNDREDS of YouTube videos about pixel shift only ONE–not you–has had the sense enough to actually tell the new user (you know, the one that you say you’re trying to “educate”) how to actually FIND pixel shift settings in the menu. Yeah, I know, you’ve got an hour+ video on the whole camera, but your video on the pixelshift function doesn’t even mention that tiny, but critical, detail! Yeah, Sony doesn’t even mention the words “pixel shift” in their manual either, so there are more dumbasses than one here. LOOK, if you deign educate another about a product,TRY ASSUMING THAT THEY DONT KNOW ABOUT THE PRODUCT!!!! How about that novel concept?

  4. I saw that you were adjusting the exposure in the Sony app, and then exporting as 8-bit TIFF. You said you can do it a few times at differerent exposures and then photo-merge in LR so that no highlights or shadows were lost. If you just save as 16 bit TIFF, nothing is lost.

  5. It would be interesting to see this on an even higher-end camera with a lower ISO. Combined with image stacking, you could potentially get a stupendously high-quality image.

  6. I shot a bunch of architecture stuff the past two days on A7Riii. I did a mix of apertures and pixel shift/non-pixel shift. I was really hoping that for architecture, this would be a great option, even if it was a bit of a pain to work with. I did notice a bit of added sharpness, but not as much as I was hoping. Plus, things like tree leaves blowing ever so slightly in the wind, turn garbled in the mix. So unless your subject and camera can be PERFECTLY still, there is not much benefit. I don't know how it works exactly, but you can hear camera mechanism move a bit between each shot, so I'm assuming it's literally moving the sensor a pixel or so. If that's the case, even the slightest hint of movement in the camera (even a slight breeze against the tripod I'd think) could move it enough to mitigate the shift advantage. The real deal breaker though is not being able to work in RAW in the combined image. That alone kills it. Like most of you, I see this as something more like a proof of concept that needs some serious polish to be usable.

  7. Is it also working for Repos ( I.g. if i photograph my analog negatives and slides , in order to digitalise them ) And if so only color negatives and slides or also B/W ones or XP2 Negatives which have a color cast ?

  8. It seems to do a good job adding some extra detail but my main problem is the raw editor. The color profiles sony starts your image out with is pretty crappy. Also often there's a lot more processing to do on an image in the raw stage I like to do then what tony did in this video before exposing the image to a tiff. I know I know…. just edit the image in lightroom after. But one thing that was left out of this tutorial was to adjust white balance settings before exporting to a tiff. If you don't then you will lose the ability to make adjustments to white balance in Kelvin as a RAW file in lightroom. Instead you have this kinda warming cooling filter as a white balance slider white is not good. 

    So again you might ask why not just edit white balance in Sonyʻs RAW editor? Well… after I applied the picture style to neutral and turned off sharpening and noise reduction Sonyʻs software was running terribly slow. The photo was stuck in this kinda blurry state kinda how an image looks as its loading in lightroom. I know my computer is not that slow. I think that Sonyʻs software is just that crappy. 

    Anyways, I didn't think I would have had to mess with the white balance much since the images in lightroom looked pretty good as shot. The tiff that Sonyʻs editor processed came out with a magenta cast. I really hope adobe will provide support for pixel shift. I think it could be a really powerful tool.but using external editors like sonyʻs and canonʻs just are not practical.

  9. May I suggest that you do some audio editing to remove the signal clipping. Your "S's" are clipping and turn into whistles. You can set parameters to cut off the highest and lowest frequencies to prevent that. Thanks for the informative video!

  10. It is not nearly as much of a hassle as described in this video, and the editing portion is totally unnecessary with Sony software…. after capturing a shoot, the “View” software can perform the same composite task, and output the arq raw file. This can be done in a batch as well! Just open View, select applicable arw files, and right click to composite. The arq files are accepted by adobe raw, with zero Sony post applied. The video is correct though, ANY movement, or lighting change, will render a terrible result. Everything must be static.

  11. HELP! My 4 Pixel Shift images look good in the Edge Viewer but everytime I select them to create&adjust the composite the resulting image comes up totally black.

    Am I doing something wrong?

  12. Tony & Chelsea,

    I´m wondering what experiences you have made with the A7r IV with pixelshift. Could you explain a bit about that, too?

    Recently I saw a snippet of an image you made with the 240mp pixelshift mode of the new 7r IV. While it showed a ridiculous amount of detail (compared with the regular resolution), it also showed a weird type of checkerboard effect.

    Well, maybe you´re already working on a video about this…..

    Regarding the vulnerability of the pixelshift mode to even the slightest bit of movement, I´d like to offer my experiences with the RX100 (Mark I) and manual exposure bracketing. When shooting on a tripod a high contrast scene, I manually cycle through a number of exposures from completely over- to completely underexposed. The resulting images are then stacked in Photoshop.

    Here is why I mention this: In most cases (I´d say in about 98% of cases) the resulting images are 100% congruent, meaning: Not the slightest bit of an offset can be observed, even though I touch the camera on a tripod at least twice for each exposure: To spin the wheel for a different exposure, and to press the release button (I don´t use cable release).

    The tripod I use is fairly cheap (approx.100€), and neither high class nor heavy.

    While I fully appreciate and understand the problems why Sony´s pixelshift mode is very vulnerable and cumbersome, I was wondering why the method I use with the RX100 does not show similar problems. Or to put it the other way round: Considering that all 4 (16) exposures on the A7r III/IV are done automatically, shouldn´t this mean less vulnerability to offset images?

    But maybe the comparison between a compact camera and these beasts is too far off to offer a meaningful insight into this issue….

    At any rate, wanted to run this by you in hope of an answer.

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