Just a reminder if you experience moire...try the enhance details function in Lightroom

[Stuart Richardson]

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I was photographing an avalanche defense wall today, and it is comprised of a metal screen and rocks. I was using the SL2 with the 50mm APO Summicron at 4.5, which is where it is at its sharpest. This really caused some severe moire. I typically don't get a lot of moire from the SL2 because you typically don't find too many natural structures that set off the pattern here, but this man-made wall did. But the enhance details got rid of it right away... Previously you used to have to generate a duplicate to use it, but thankfully now it is just a button. If it is not possible to just engage it by default, I will see if I can just make a preset. The additional computing time is still fairly small, and the benefits (as seen here) can be substantial. Just figured I would show it here for those who were not already aware of it! 

NB: The moire version is showing up second for some reason! 

 

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Edited July 19 by Stuart Richardson

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[Vanillasludge]

I’ve used the moire slider in the adjustment brush tool when I encountered this issue. I never had issues until I picked up a V1 Summicron M.  For some reason that lens triggers moire on in-focus screen doors or window screens.  

[Jon Warwick]

On 7/20/2025 at 12:54 AM, Stuart Richardson said:

I was photographing an avalanche defense wall today, and it is comprised of a metal screen and rocks. I was using the SL2 with the 50mm APO Summicron at 4.5, which is where it is at its sharpest. This really caused some severe moire. I typically don't get a lot of moire from the SL2 because you typically don't find too many natural structures that set off the pattern here, but this man-made wall did. But the enhance details got rid of it right away... Previously you used to have to generate a duplicate to use it, but thankfully now it is just a button. If it is not possible to just engage it by default, I will see if I can just make a preset. The additional computing time is still fairly small, and the benefits (as seen here) can be substantial. Just figured I would show it here for those who were not already aware of it! 

NB: The moire version is showing up second for some reason! 

 

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

Thanks for posting what's a clear example of the benefits of Raw Details. After your recommendation to me a year or so back (thanks!), i now use Raw Details frequently for landscapes where moire can otherwise show up in things like distant moraine ...ie, the rubble of stones next to glaciers. Works really well for that.

With higher resolution cameras like my 60mp M11, I'm still not a fan of the separate Super Resolution, even with sharpening at zero, it's all too much for my taste (digitised and overly sharp).

However - since recently getting a lower resolution 24mp SL2-S, i thought i'd try Super Resolution again, which creates a 40" wide image (12000*8000 pixels for printing at 300dpi). I'm thoroughly impressed this time!!  Not sure if it's due to Super Resolution working off the fatter pixels of just a 24mp camera, but the output looks (to me) very natural and very detailed at the same time.

 

Edited October 25 by Jon Warwick

[Stuart Richardson]

Thanks Jon. I tend not to use super resolution either. I think that the problem for me is often that these programs that do not work on all the pixels equally often wind up having visible artifacts. You can see the seams as it were. Whereas a more old-fashioned bicubic up-res may not be as sharp, but it will be more even and there will be no artifacts because it is doing the same things to the entire image. But obviously it has to be evaluated on a case by case basis. 

Edited October 25 by Stuart Richardson

[Jon Warwick]

1 hour ago, Stuart Richardson said:

Thanks Jon. I tend not to use super resolution either. I think that the problem for me is often that these programs that do not work on all the pixels equally often wind up having visible artifacts. You can see the seams as it were. Whereas a more old-fashioned bicubic up-res may not be as sharp, but it will be more even and there will be no artifacts because it is doing the same things to the entire image. But obviously it has to be evaluated on a case by case basis. 

All makes sense, and likewise, I’d use an old fashioned up-res with my M11. I think it’s the lack of artifacts and convincingly natural and high resolution images with SL2-S in Super Resolution that I’ve stumbled across that I’m surprisingly impressed by.

I like 40x30” prints, so I’ve been resampling to 45” wide some identical outdoor scenes with the M11 (traditional up-res), SL2-S (resampled with Super Resolution) and SL2-S (multi-shot).

To my eyes, M11 (traditional up-res) = SL2-S (Super Resolution), both look similarly detailed and natural, if anything edges are better on the SL2-S with the 50mm DG DN than my M11’s APO Lanthar. Both better (sharper, more natural) than SL2-S in multi-shot, imho.

Edited October 25 by Jon Warwick