Does Dynamic range matter if you're exporting jpegs anyway?

Started 1 month ago | Questions thread
OP Thurnau Regular Member • Posts: 497
Re: Does Dynamic range matter if you're exporting jpegs anyway?

photonut2008 wrote:

Thurnau wrote:

I'm a Nikon D500 shooter, and I'm contemplating a jump to D850,

What are you shooting and what are you doing with the photos you get?

Ecom (mid to luxury women's clothing), and a lot of it can be black. Shooting in raw/NEF, someone else edits it.

and wondering if my jpegs will look better after exporting for the web.

If it's just for the web I wouldn't go for a D850 over a D500.

The end result is primarily web, some of my product shots go in magazines and press release kits, but for these questions it's for ecom. I'm also looking at automation software like Ortery. It isn't compatible with D500. They list probably every Canon camera, and very few select Nikons due to SPK developer limitations. Canon allows third parties to manipulate the camera, and Nikon allows very few bodies to conform. I'm after Ortery for learning ghost mannequin photography (d850 or abandon Nikon for a canon system), and for live model I can still use D500 (or whatever I upgrade to).

Does Dynamic range matter if you're exporting jpegs anyway?

Yes.

Obviously, I'd like to capture more detail in black while also not blowing out highlights.

Are you maximizing your exposure with your D500? Do you use UniWB and a custom Picture Control (with a linear curve). Practicing ETTR gets you an extra stop with your gear, and using a CC40M filter will get you nearly another stop over that (and yes, that all applies to moving to a larger system too).

I'm not sure. I have detail in black and I'm not blowing out the white, the detail is there in post processing. I can lighten the image to get detail in the black shadows, but then the black becomes washed out and the garment appears faded; the model will look crazy too.  If I'm looking at the item, I can't see the details in the black without brightening it in photoshop/Lr. I don't use uniWB, never hear of it until you posted and I googled it. I control the WB in the studio though. Strobes are 5600, but nikon doesn't allow 5600, it's 5575 of something close to 5600. Perhaps it's not DR I'm after, perhaps it's visible DR on a monitor? After Googling ETTR, I've realized that's what I always do with studio strobes: iso 100, 1/250 shutter, adjust f-stop until I like the histogram and exposure. I shoot a white background so I'm all the way on the right except I allow it to drop just before the edge (so I don't blow anything out). I googled CC40M filter, and I'm not sure a color-compensation filter in magenta can help? I'm not shooting in fluorescent light.

I'm assuming a better camera with dynamic range could help,

It certainly can, but it's probably the most expensive way to solve what appears to ail you here.

but if I'm exporting for the web as jpegs, does it matter?

Again, yes.

I suppose it can be the same discussion about color. If I shoot in 14 bit color, but I export to jpeg (which I think is limited to 10 bit color), hypothetically, would any benefit of a better sensor on a better camera get diminished?

You have more space to do editing when you fully utilize the camera's sensor, and that includes its well capacity (see above about your camera's settings). That said, if your just sharing or otherwise viewing your photos on the web, often on uncalibrated monitors, you probably aren't being held back by your D500's sensor.

Good to know. When it came to color accuracy, I'd get frustrated with Nikon's probably accurate but lifeless color. I was thinking it's a limitation on color, and that perhaps a better system is the answer. +6 saturation in photoshop brings back humans to life, and looks a little more accurate to what I'd see from memory. Perhaps the strobe lighting with parabolic or softbox modifiers flushes some of the color away.

I saw a photographer with Hasselblad comparing against a Nikon D850, and the Hasselblad came out with better lifelike color, and more lifelike texture in the hair. I've also seen shots where there is no/little difference. This hasselblad promotional video was also seen in youtube, where I doubt it's showing 16 bit color, so what's going on behind the magic? I'm intrigued with Medium Format, but it's out of my budget. This is the video: https://youtu.be/BjFBQr7KkEg

I'm thinking the D500 isn't for you if your contemplating a slower and larger system. Both the D500 and the D850 are versatile cameras intended for a variety of tasks. They have state-of-the-art AF, can utilize a wide assortment of lenses, and they are easily carried on your shoulder as you move about. None of that applies to the Hasselblad system, which is to your D500 what a Formula One race car is to a street legal Porsche (the D850 would be a roomier and more expensive Porsche).

I would also suggest you read this:

https://bythom.com/newsviews/looking-for-mr-goodgear.html

I'm not getting rid of my D500. I'm already heavily invested in Nikkor glass.

The D850 is to satisfy Ortery's compatability specs, I'd honestly prefer the D6 to keep the megapixel low (or simply keep the D500 in service if it's not holding me back in shadow detail and color). The 50mp is a burden, so would 100mp be a bigger burden.

Thank you so much everyone for taking my questions serious!

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