6D Dynamic Range

Started Feb 25, 2013 | Discussions thread
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Mako2011 MOD
Forum ProPosts: 19,225
In reply to rwbaron, Feb 27, 2013

rwbaron wrote:

Mako2011 wrote:

Not if you meter for the mid-tones and then you simply have more detail preserved at the ends than had you used a less DR capable sensor. There is no need for extreme ETTR or extreme pulling of shadows to take some advantage. Capture the same scene with a less DR capable sensor and see how much potential you have in comparison. How important the detail in the extremes is to the overall composition will determine how valuable few extra stops of potential are.

My understanding is you don't gain much by what you're describing.

From experience, I actually do but the degree of gain is a relative one. One also only scene in a very small set of cases.

The Exmor does not give more at the highlights over middle grey, it gives more in the shadows.

No...it gives 14 vs 12 DR capability with much less noise penalty than in the past when pulling at base ISO. The vast majority of captures and desired results don't require that extra little bit though.

Saturation is what it is and once the highlights are blown they are gone.

True..and less is blown with a higher DR sensor.

If the scene requires the latitude of the Exmor the only way to realize it is to capture for preserving highlight detail and then sort out the shadows and midtones in post but maybe there's a technique I'm not familiar with.

Yes, there are different techniques to get advantage of the newer generation of sensors. How big the advantage varies greatly with many factors.

To recover the image in post you need to usually lift both the shadows and mid-tones to have something that appears normal and depending on how bright the highlights were and how dark the shadows this could be several stops of lift (3 to 5).

You do not have to pull the mid-tones nor do you really need to be too aggressive to see some advantage. Really does depend on the scene and the artist intent. The advantage will not be readily apparent in all scenes or compositions...for those that it is though, the extra stops are of use.

I don't understand how you can capture to preserve the highlights without pushing the midtones and shadows down several levels and sacrificing precision.

You're assuming that the detail you want most to preserve is in that area of the image farthest to the right. That is not always the case. Now re-think the theory based on that and see if it changes perspective a tiny bit.

Isn't the highest precision at the brightest end and it degrades by half for each sucessive level? If true then you're capturing midtones at a level with much less precision for color than where it would normally be?

That is the case if doing ETTR. Many do not practice ETTR for the exact reasons you suggest.

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