Dynamic Range: D5100/D7000

Started May 21, 2011 | Discussions thread
_sem_ Veteran Member • Posts: 5,023
Re: D7000 Tonal Compression PP Methodology

Zane Paxton wrote:

Yikes! I forgot to mention the "Recovery" slider. I use that a lot, sometimes pushed to 100% (Turn on the highlight indicator in ACR, slide the Recovery to the right to eliminate the blown highlights which show up in Red). Also some reduction in Exposure might help control the highlights. There is a fair amount of fiddling around and experimenting to find out what works best. I've processed several hundred images from my recent vacation and I think I'm getting a good feel for it now.

I haven't seen the sky turning grayer per se.... That probably indicates dropping the luminance/recovery too far... That in effect might be clipping the brightest parts too much. As a general rule, keep the curves smooth rather than abrupt.

Which profiles do you use (Adobe standard, camera standard, "invariate", custom made with profile editor, ColorChecker... ?)

I recently bought the X-Rite Colorchecker Passport and think it is just great. The Nikon colors are very good, but they are just better with the Colorchecker Passport. I've noticed that the D7000's colors are not as neutral as the classic D2x's colors. the D7000 seems to benefit more form the color balancing with the Clorchecker Passport than my D2x does. The Colorchecker Passport is about $100, but worth it. I plan on using it pretty regularly now after seeing the improvement it provides. I can see that the list in ACR could get kinda long after a while!

Thanks! But which profile were you mostly using & does "Recovery" experience change with the profile? I mean, the "invariate" profiles were made with the intention of removing the twists, and the CC profiles are supposedly not "twisted" either. I did notice this quite obviously when testdriving LR3b, but I wasn't aware of the profiles at the time. It is visible in my comparison, though this is not max Recovery (to keep the sky bluer and also to retain some contrast in the clouds).

Regarding the colours, DxO OP allows one to try different profiles - a neutral one (close to CC in neutral light I guess), their "standard", one that attempts to match the default camera profile, and a bunch of profiles emulating other cameras. My impression is that the choice highly depends on the image - some scenes work best with "calibrationist" natural colours, while others with tweaked factory colours. And one may tweak colours further to taste, the preset profiles are just a convenient starting point. I took the liberty to pick the Canon tonemapping now and then Of course, some CNX users would always claim no DxO colours were any good.

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