Originally posted by photoptimist That's a very interesting question.
The multiple-image super-resolution approach will collect and process the data to fill in the subject matter details that were actually in the scene.
Topaz's Gigapixel AI will fill in the details that the AI expects to be in the scene based on all the training data. That is, it fills in what is typically found in such scenes.
Thus, Gigapixel AI images will typically look right but the super-resolution image will actually be right.
That then gets into one's personal philosophy of photography. If photographs are supposed to show what is truly in the scene, then super-resolution is way to go. If photographs are only supposed to be pretty (not true-to-life), then Gigapixel AI works.
Normally I agree with you 100%. On this one I have to disagree somewhat. I did 2 shots for the Hirshhorn Museum and Sculpture Garden this fall. It required me to shoot a "scatter" of notes from Duchamp's Green and White boxes for our
Levine collection exhibition (a big donation of Duchamp's work to us).
I shot on a
copy stand in the Photo lab a setup prepared by the conservation department on top of a sheet of foam core. This was a little hairy, as the paper conservator and the curator had prepared this in the Conservation lab, and then rolled down the hall on a cart to the Photo lab, and none of the bits of paper, all facsimilies overseen by Duchamp himself in an extremely limited edition, were or could be anchored down. I was required to have my camera (a Z) already set up with the lights and essentially focused and exposure set with dummy papers I used, and then the foam core set up was carefully placed down on the bed ( a custom bed we had fabricated for us that rolls on the floor and is about 6 feet wide by 48-ish deep by maybe 18" tall). The foam core was around 60" wide. I had only several minutes to shoot, and only one chance---as we worked the individual papers began curling from atmospheric change---I used my own LED lights to cut down on the heat. I was not allowed to move the camera---so although I would like to have been able to stitch together 4 or 6 images, we couldn't do this ( I wasn't consulted on how to go about this, I wish I had been...)
So, because the aim was to produce a 1:1 ratio print to use as a base/background in a vitrine for the actual sketches and notes, and in the case of the White Box other ephemera and folders. As all of the originals are extremely light sensitive, they are constantly rotated, but the prints we had made stay in place as a referent for the whole contents of the boxes, if that makes sense. I can't share the photos I took because of permissioning ( The Levine's are still alive, so they technically still have ownership).
So, in steps G AI. You'll have to take my word for it, but it performed brilliantly and I wouldn't characterize the result as fake or "for pretty", as the Amish say. Viewers are able to scrutinize the originals against the print at 1:1, side by side. The results were so good, that we decided that we'd best do the prints monochrome so there was no confusion for the viewers.
As I said before, G AI is a tricky program to use---it took me a few tries to make it right (Hint: turn off "Auto" and dial in the 2 sliders manually...). But when it works, it works wonderfully. I'd also say that for a project like what I have described here, the Topaz claims of 6x uprez are outlandish---yet I was able to get where I needed to go with some room to spare. But this was a true torture test of the software I think. For most people's use, where the referent is not sitting right next to the print, I'd say a great deal can be done with this software by a sensitive user. And I'm sure we'll see improvements. I won't hesitate to use it with my personal work. There are lots of situations that don't lend themselves to multiple frame shoots.