Do some sensors have too many photosites?

For years we have seen the gradual creep of increased photosites on sensors (images have pixels, sensors have photosites – pixels don’t really have a dimension, whereas photosites do). The question is, how many photosites is too many photosites (within the physical constraints of a sensor)? It doesn’t matter the type of sensor, they have all become more congested – Micro-Four-Thirds has crept up to 25MP (Panasonic DC-GH6), APS-C to 40MP (Fuji X-T5), and full-frame to 60MP (Sony A7R-V).

Manufacturers have been cramming more photosites into their sensors for years now, while the sensors themselves haven’t grown any larger. When the first Four Thirds (FT) sensor camera, the Olympus E1, appeared in 2005 it had 2560×1920 photosites (5MP). The latest rendition of the FT sensor, on the 2023 Panasonic Lumix DC-G9 II has 5776×4336 photosites (25MP), on the same sized sensor. So what this means of course is that ultimately photosites get smaller. For example the photosite pitch has changed from 6.89μm to 3μm, which doesn’t seem terrible, until you calculate the area of a photosite: 47.47μm2 to 9μm2, which is quite a disparity (pitch is not really the best indicator when comparing photosites, area is better, because it provides an indication of light gathering area). Yes, its five times more photosites, but each photosite is only 16% the area of the original.

Are smaller photosites a good thing? Many would argue that it doesn’t matter, but at some point there will be some diminishing returns. Part of the problem is the notion that more pixels in an image means better quality. But image quality is an amalgam of many differing things beyond sensor and photosite size including the type of sensor, the file type (JPEG vs. RAW), the photographers knowledge, and above all the quality of a lens. Regardless of how many megapixels there are in an image – if a lens is of poor optical quality, it will nearly always manifest in a lower-quality image.

The difference in size between a 24MP and 40MP APS-C sensor. The 40MP photosite (9.12μm2) is 60% the size of the 24MP photosite (15.21μm2).

However when something is reduced in size, there are always potential side-effects. Small photosites might be more susceptible to things like noise because despite algorithmic means of noise suppression, it is impossible to eliminate it completely. Larger pixels also collect more light, and as a result are better at averaging out errant information. If you have two different sized sensors with the same amount of photosites, then the larger sensor will arguably deliver better image quality. The question is whether or not photosites are just getting too small on some of these sensors? When will MFT or APS-C reach the point where adding more photosites is counterproductive?

Some manufacturers like Fuji have circumvented this issue by introducing new larger sensor medium format cameras like the GFX 50S II (44×33mm, 51MP) which has a photosite size of 5.3µm – more resolution, but not at the expense of photosite size. Larger sensors typically have larger photosites, resulting in more light being captured and a better dynamic range. These cameras and their lenses are obviously more expensive, but they are designed for people that need high resolution images. The reality is that the average photographer doesn’t need sensors with more photosites – the images produced are just too large and unwieldy for most applications.

The reality is, that cramming more photosites into any of these sensors does not really make any sense. It is possible that the pixel increase is just a smokescreen for the fact that there is little else in the way of camera/sensor innovations. I mean there are the stacked sensors, but their development has been slow – the Foveon X3 has shown little use beyond those found in Sigma cameras (they haven’t really taken off, probably due in part to the cost). Other stacked CMOS sensors are in development, but again it is slow. So to keep people buying cameras, companies need to cram in more photosites, i.e. more megapixels. Other things haven’t changed much either, I mean aperture is aperture right? For example autofocus algorithms haven’t taken a major step forward, and the usability hasn’t done much of anything (except perhaps catering to video shooters). Let’s face it, the race for megapixels is over. Like really over. Yet every new generation of cameras seems to increase the number slightly.

Rear Window – the “other” camera?

Although L.B. “Jeff” Jefferies used an Exakta camera in Hitchcock’s “Rear Window”, there were other cameras present in the room – most notably the one that took the photograph on the racetrack that lead to Jeff being in a wheelchair with a broken leg. What was that camera?

From the image shown it is clear that it is a large-format camera, most likely a Graflex Speed Graphic, a type of press cameras. As the name implies, these cameras were mainstays of press photographers until the 1960s, cumbersome but often preferred for their large negatives which allowed extensive cropping and enlargement without loss of detail. Considering the closeness of the shot taken by the camera on the track, it is a wonder Jefferies survived at all.

The broken Graflex camera?
The photo of the crash

A move back to manual photography

When I was in university I dabbled in some photography. I had two Fuji cameras, I think one was a Fuji STX-2 35mm SLR. I had a couple of standard lenses, and a 300mm telephoto that I found at home and bought an adapter for. I did some nature photography, mostly birds, putting the 300mm to good use. I did some B&W and did some of my own processing (our residence had a darkroom). But I grew tired of lugging photographic gear on trips, and eventually in the late 90’s traded in that gear, and bought a compact 35mm camera. It was just handier. When my wife and I went  to Arizona in 2000, we both took our 35mm compact cameras with us. When we came back from that trip we had 12-15 rolls of film, and at that point I concluded that I was done with analogue film, largely because of the inconvenience, and cost (I think some are still unprocessed!). The next year we bought our first digital camera, a 2MP Olympus. We took it on a trip to Switzerland and Germany, and it was great. I never went back to analogue.

Now, 18 off years later, a change of plan. There seems to be an increasing trend, unlike that of records, towards analogue cameras, and film. To this end, I went and bought an Olympus OM-2 with a 50mm f1.4 lens. It feels *awesome*. Film is readily available, and actually quite inexpensive to process. Don’t get me wrong, I’m not ditching digital, in fact I’m going to use the analogue lens on my Olympus EM-5(II), and maybe even pick up an E-1. But what I long for is the feel and artistic appeal of the analogue camera… not necessarily for travel afar, but for local photography. I long to experiment with a camera that is very simple. I want to teach my daughter (who uses one of those instant Polaroid type cameras), about the true basic art of photography., and explore the inner workings of the analogue system. In part I believe that playing with film will help me better understand the subtle  nuances with taking good photographs, without the aid of extensive digital controls. The need for more control was brought on when I started using the Voigtländer lens on my EM-5, something that required me to manually focus. It’s easy to forget how much tactile knowledge is discarded when we give over to digital control.

olympus manual camera

Olympus OM-2

The problem with anything digital is that we hand over our innovative processes to the machine… and I’m somewhat over that. I don’t need AI to take the perfect picture, in fact I don’t need the perfect picture. Analog photography was never perfect, but that was its beauty, just as nothing in the world is completely perfect, and maybe we should stop trying to manipulate it so that it is.

P.S. If you’re looking for a manual camera in the GTA, try F-STOP Photo Accessories, in downtown TO. That’s where I bought this camera. It’s a small shop, but they have an amazing selection of manual cameras, at *exceptional* prices.