New Fuji user in need of advice on shooting settings.

Hello guys,

so I am new Fuji user, I got a Fujifilm X-H2S two weeks ago and been playing with it since then. I've been quite happy with it so far coming from Sony system, but I need few advices regarding shooting settings. And just to be clear - I shoot RAW all the time, if i need jpg on the go then I am very happy with the raw to jpg conventer built in to the camera itself.

I'll get straight to the point:

1) On my Sony I used zebra stripes to judge exposure on the go. I've turned on highlight alert on my Fuji and it's fine but here comes the question regarding this setting: as we all know, the clipping alert/zebras are based on jpg histogram so these alarms aren't the best ways to judge raw exposure, so what I used to do on Sony was to shoose "neutral" picture profile which was the most flat looking and I would set colour, saturation etc. further down to -3. That gave me really flat looking look in viewfinder which I don't mind, because that way my zebra alert was quite accurate. So my question is what should I do to get similar results on Fuji? Should I shoose Eterna, which is considered most flat profile, and then set my colour setting to - 4? Maybe Tone curve to -2/-2? What are your thoughts on this? I heard that some people would turn on the "natural live view" setting, but from my brief testing it doesn't do too much of a difference regarding blown highlights alert.

2) If I'm shooting RAW, does Dynamic Range setting (DR100/DR200/DR400/AUTO) change anything? Should I leave it on Auto or DR100?

3) Same question about D Range Priority - does it affect anything if I'm shooting RAW? Should I leave it on Off or Auto?

I would greatly appreciate your thoughts on these questions.

I'm new to the Fuji system and I want to learn everything about it.

Cheers

Thomas

Welcome aboard. Assuming the X-H2S is like all the other Fujis, though not a true RAW indicator, the highlight warning blinkies are very useful for judging RAW exposure and closely mirror the RAW green channel (the one that clips first nearly all the time). The blinkies respond pretty much the same with any combination of film sim/jpeg settings (that I’ve tried, anyway), so set those up for whatever EVF look you want. The DR modes require a higher than base ISO to operate and will underexpose the RAW files if base ISO was a feasible option. I don’t see any good reason for a RAW shooter to use anything besides DR100. Use the blinkies to expose your highlights correctly in the first place and you’re good to go.

Using Natural Live View won’t convey an accurate representation of exposure at all and the blinkies will not function properly, so I highly recommend not going there except for with a flash in low light.

The RGB histogram does mirror the jpeg view in the EVF and won’t be representative of the RAW file either, so you’ll probably want to skip that too. I use only the blinkies with exposure compensation and get perfect RAW exposures every time. “Just” blinking clouds are usually fine and easily recoverable with good results as typically only one channel will clip, but you don’t ever want to see blinking skin.

Erik

trmgkl wrote:

Hello guys,

so I am new Fuji user, I got a Fujifilm X-H2S two weeks ago and been playing with it since then. I've been quite happy with it so far coming from Sony system, but I need few advices regarding shooting settings. And just to be clear - I shoot RAW all the time, if i need jpg on the go then I am very happy with the raw to jpg conventer built in to the camera itself.

I'll get straight to the point:

1) On my Sony I used zebra stripes to judge exposure on the go. I've turned on highlight alert on my Fuji and it's fine but here comes the question regarding this setting: as we all know, the clipping alert/zebras are based on jpg histogram so these alarms aren't the best ways to judge raw exposure, so what I used to do on Sony was to shoose "neutral" picture profile which was the most flat looking and I would set colour, saturation etc. further down to -3. That gave me really flat looking look in viewfinder which I don't mind, because that way my zebra alert was quite accurate. So my question is what should I do to get similar results on Fuji? Should I shoose Eterna, which is considered most flat profile, and then set my colour setting to - 4? Maybe Tone curve to -2/-2? What are your thoughts on this? I heard that some people would turn on the "natural live view" setting, but from my brief testing it doesn't do too much of a difference regarding blown highlights alert.

I'd go with trial and error to see what works best for you. The exposure system is pretty accurate with Fuji, so your exposure concerns might not apply in the same way as with Sony. Eterna is very flat - you might want to go with a more moderate sim such as Pro Neg or Classic Chrome.

2) If I'm shooting RAW, does Dynamic Range setting (DR100/DR200/DR400/AUTO) change anything? Should I leave it on Auto or DR100?

Almost everyone here will tell you to stick with DR100 (because none of them ever make an exposure mistake). I do occasionally make an exposure mistake, or want to rely on the camera making the decision when the dynamic range is too great. With Auto set on (my personal default) I find it works extremely well - only when needed, and yet I never have a problem with blown highlights. Allows me to focus properly on image rather than exposure!

3) Same question about D Range Priority - does it affect anything if I'm shooting RAW? Should I leave it on Off or Auto?

I'd say keep it off. People have reported that it isn't as consistent as Auto DR and may tend to over-compensate and produce somewhat of a HDR look.

I would greatly appreciate your thoughts on these questions.

I'm new to the Fuji system and I want to learn everything about it.

Good luck with Fuji. You're asking good questions!

Cheers

Thomas

trmgkl wrote:

Hi Thomas

Hello guys,

so I am new Fuji user, I got a Fujifilm X-H2S two weeks ago and been playing with it since then.

Welcome to Fujiland.

I'll take questions 2 and 3 because I was interested in the same some months ago and shed a light on it, with the help of the forum.

...And just to be clear - I shoot RAW all the time...

...

2) If I'm shooting RAW, does Dynamic Range setting (DR100/DR200/DR400/AUTO) change anything? Should I leave it on Auto or DR100?

3) Same question about D Range Priority - does it affect anything if I'm shooting RAW? Should I leave it on Off or Auto?

Yes it does.

It is a jpeg tool. No advantage for the raw shooter.

I'd leave it on DR100.

See here, Conclusion on DR200, DR400, and DR Priority.

I would greatly appreciate your thoughts on these questions.

I'm new to the Fuji system and I want to learn everything about it.

Cheers

Thomas

Regards,

Martin

Ysarex wrote:

2) If I'm shooting RAW, does Dynamic Range setting (DR100/DR200/DR400/AUTO) change anything? Should I leave it on Auto or DR100?

3) Same question about D Range Priority - does it affect anything if I'm shooting RAW? Should I leave it on Off or Auto?

Agree with Erick & Martin -- DR & D Range are for JPEG shooters -- leave them off and never think of them again.

Here's another person who has never, ever blown a highlight and indicates how to outguess the camera design - and of course it's OK to have that kind of confidence in your approach. However, misleading a new user on the actual facts crosses a line. DR most certainly was designed for both RAW and JPEG shooters - and please refrain from telling anyone to "never think" for themselves because you know better.

John Peltier is a well-respected pro, and he writes clearly and more intelligently about the topic here than we tend to find in the comments on this forum:

https://www.jmpeltier.com/fujifilm-dynamic-range-settings/

Responding to comments from this entry, Peltier is likely answering clearly to the perspectives often voiced on this forum:

"I think there’s plenty of utility for using this in RAW photography.
Consider the documentary, event, or street photographer who is working quickly and doesn’t have the time to analyze highlight clipping while working, but still wants those areas protected. Activating DR200 or 400 will reduce the light reaching the sensor than what would with a DR100 setting, thus protecting highlight areas in their RAW file, assuming lowest possible ISOs. Or that photographer could just use DR100 at the base ISO and expose for the highlights (effectively underexposing the photo a few stops), then work the tone curves themselves in post-processing, but that makes composition overly complicated when you can’t see it. It also depends on the RAW converter they’re using since most will apply the D-Rng curve to the RAW file as shown in my example above.

I have made some edits to this article, mostly adding “for JPEGs” in numerous places where readers assumed I was talking about the RAW, as I did not make a distinction... All we can do is try to give photographers a basic understanding of the available tools and let them decide how/if they want to use them."

I will also add that DR is probably especially designed for pro shooters who live by the motto "time is money" and literally cannot afford to violate the cardinal rule: "be sure to get the shot." DR Auto often is a time-saver when processing, and is the best insurance against the occasional missed shot because it does its job of avoiding blow outs extremely well, but only when needed. Unfortunately, many folks here haven't given it the opportunity because the "never think" mentality is pretty strongly enforced on this issue.

JNR wrote:

Ysarex wrote:

2) If I'm shooting RAW, does Dynamic Range setting (DR100/DR200/DR400/AUTO) change anything? Should I leave it on Auto or DR100?

3) Same question about D Range Priority - does it affect anything if I'm shooting RAW? Should I leave it on Off or Auto?

Agree with Erick & Martin -- DR & D Range are for JPEG shooters -- leave them off and never think of them again.

Here's another person who has never, ever blown a highlight and indicates how to outguess the camera design - and of course it's OK to have that kind of confidence in your approach. However, misleading a new user on the actual facts crosses a line. DR most certainly was designed for both RAW and JPEG shooters - and please refrain from telling anyone to "never think" for themselves because you know better.

John Peltier is a well-respected pro, and he writes clearly and more intelligently about the topic here than we tend to find in the comments on this forum:

https://www.jmpeltier.com/fujifilm-dynamic-range-settings/

Responding to comments from this entry, Peltier is likely answering clearly to the perspectives often voiced on this forum:

"I think there’s plenty of utility for using this in RAW photography.
Consider the documentary, event, or street photographer who is working quickly and doesn’t have the time to analyze highlight clipping while working, but still wants those areas protected. Activating DR200 or 400 will reduce the light reaching the sensor than what would with a DR100 setting, thus protecting highlight areas in their RAW file, assuming lowest possible ISOs. Or that photographer could just use DR100 at the base ISO and expose for the highlights (effectively underexposing the photo a few stops), then work the tone curves themselves in post-processing, but that makes composition overly complicated when you can’t see it. It also depends on the RAW converter they’re using since most will apply the D-Rng curve to the RAW file as shown in my example above.

I have made some edits to this article, mostly adding “for JPEGs” in numerous places where readers assumed I was talking about the RAW, as I did not make a distinction... All we can do is try to give photographers a basic understanding of the available tools and let them decide how/if they want to use them."

I will also add that DR is probably especially designed for pro shooters who live by the motto "time is money" and literally cannot afford to violate the cardinal rule: "be sure to get the shot." DR Auto often is a time-saver when processing, and is the best insurance against the occasional missed shot because it does its job of avoiding blow outs extremely well, but only when needed. Unfortunately, many folks here haven't given it the opportunity because the "never think" mentality is pretty strongly enforced on this issue.

Instead of relying on an imprecise and somewhat unpredictable DR mode, if you want to maintain a bit of extra highlight headroom in your RAW files, you know you can simply just dial down the exposure compensation a bit, right? ...In precise 1/3 stop increments, I might add. And no, I don't try to outguess the camera, I use tools provided with the camera to produce optimally exposed RAW files every time. Is there a little know-how and experience involved here? Sure, but isn't there with all the other aspects of photography as well. I can't remember the last time I blew any highlights that I didn't intend to.

Will using DRAuto help to protect the highlights if you don't want to mindful of your exposure at all times? Yes, absolutely, and the results will mostly be OK - especially in low light/high DR situations but....

There are many situations where I want to precisely control my exposure/ISO to prevent highlight clipping and maximize my DR/signal to noise ratio so that I have the cleanest possible shadows to work with in post. The blinkies and exposure compensation get this precisely right in pretty much any situation. Adding a DR mode into the mix can complicate matters considerably. This exposure method may not be for everyone, but it's far faster and more precise than any other method I know of...

Like with this kind of thing, where there is a ton of DR and I want to preserve the highlight detail (color, especially) and leave myself as much DR to work with in post - and I'd have at least one or two fewer stops of DR to work with (200 to 400%), had a DR mode been engaged...

Nothing stops me (or you) from dialing in what we believe is the correct amount of under- or sometimes over-exposure compensation in one-third stops - and still utilize the Auto DR to ensure that a blow out does not happen. I often do that. I agree that a full stop of lowered exposure (Auto never implements two stops) seems like it is a bit too much, but then again the loss of the full stop compared to the gain in avoiding blow out is a trade off I will always want to make - because you aren't getting a false trigger.

As the OP indicated, he wants to know how well the system works on Fuji. I'm indicating that it very certainly works better than my experience with Pentax... where lenses (due to reliance on mechanical coupling variances, I suspect), as well as major inconsistencies in implementation from one body model to the next - made the entire exercise a lot of guess work. I haven't had that issue with the X-T20 and X-T2, and I'm pretty sure that the newer models work similarly well. I don't hear complaints about faulty metering, but you do hear many complaints about the histogram accuracy - and whether the warning system (which I find distracting) is triggering after one channel or two channels are blowing out. That's clear guess work going on I don't get when using DR Auto.

Finally, don't overlook the tonal curves implementation that comes along seamlessly in making the raw conversion from DR 200 (I don't use DR 400 so I can't say when it comes to two stops). At least when using Capture One, you always get an excellent starting point that has me double-checking when DR 200 has been implemented because it looks just about as good as regular exposure. When relying on the underexposure solely, you usually have more post processing to be done to get the right look.

By the way, I should mention how often I get into an action situation where the Auto DR does not trigger in one shot, but then a slight shift in my aim or field of view on a zoom causes a bright object, light sky or sun near the edge of the frame to show up and changes in the dynamic range results in the unexpected trigger. I don't have to worry about making exposure comp changes if the priority is to get that special moment. And believe me, you often are making those quick shifts at the time the ideal shot is coming into the frame.

trmgkl wrote:

Hello guys,

so I am new Fuji user, I got a Fujifilm X-H2S two weeks ago and been playing with it since then. I've been quite happy with it so far coming from Sony system, but I need few advices regarding shooting settings. And just to be clear - I shoot RAW all the time, if i need jpg on the go then I am very happy with the raw to jpg conventer built in to the camera itself.

Instead of JPEG, use HEIF, it is a better format and you can make the jpegs from the raw files. The HEIF files are also a slightly higher bit rate.

I'll get straight to the point:

1) On my Sony I used zebra stripes to judge exposure on the go. I've turned on highlight alert on my Fuji and it's fine but here comes the question regarding this setting: as we all know, the clipping alert/zebras are based on jpg histogram so these alarms aren't the best ways to judge raw exposure, so what I used to do on Sony was to shoose "neutral" picture profile which was the most flat looking and I would set colour, saturation etc. further down to -3. That gave me really flat looking look in viewfinder which I don't mind, because that way my zebra alert was quite accurate. So my question is what should I do to get similar results on Fuji? Should I shoose Eterna, which is considered most flat profile, and then set my colour setting to - 4? Maybe Tone curve to -2/-2? What are your thoughts on this? I heard that some people would turn on the "natural live view" setting, but from my brief testing it doesn't do too much of a difference regarding blown highlights alert.

Eterna is not the flattest profile and it tends to have properties you might not want in every image.  The one you want is pro negative standard.

2) If I'm shooting RAW, does Dynamic Range setting (DR100/DR200/DR400/AUTO) change anything? Should I leave it on Auto or DR100?

Only for the JPG and HEIF files.

3) Same question about D Range Priority - does it affect anything if I'm shooting RAW? Should I leave it on Off or Auto?

Not if you’re shooting just RAW.

I would greatly appreciate your thoughts on these questions.

I'm new to the Fuji system and I want to learn everything about it.

Cheers

Thomas

Thank you all for your thoughts and insights, I've read them all and I really appreciate them.

I definitely need to do more of testing and see what works the best for me, but it's gonna be much easier now with the knowledge you guys shared with me in replies above.

I'll try to come back here to this thread after testing different settings and gathering my thoughts about all of this. Maybe it will help future people who will transit from Sony to Fuji.

Many thanks once again.

Cheers

Thomas

JNR wrote:

Nothing stops me (or you) from dialing in what we believe is the correct amount of under- or sometimes over-exposure compensation in one-third stops - and still utilize the Auto DR to ensure that a blow out does not happen. I often do that. I agree that a full stop of lowered exposure (Auto never implements two stops) seems like it is a bit too much, but then again the loss of the full stop compared to the gain in avoiding blow out is a trade off I will always want to make - because you aren't getting a false trigger.

If the blinkies are based off of the jpeg and you eliminate them in camera, how would you still have a blown highlight?  You shouldn’t given the fact that RAW is infinitely more information to work with.

As the OP indicated, he wants to know how well the system works on Fuji. I'm indicating that it very certainly works better than my experience with Pentax... where lenses (due to reliance on mechanical coupling variances, I suspect), as well as major inconsistencies in implementation from one body model to the next - made the entire exercise a lot of guess work. I haven't had that issue with the X-T20 and X-T2, and I'm pretty sure that the newer models work similarly well. I don't hear complaints about faulty metering, but you do hear many complaints about the histogram accuracy - and whether the warning system (which I find distracting) is triggering after one channel or two channels are blowing out. That's clear guess work going on I don't get when using DR Auto.

Finally, don't overlook the tonal curves implementation that comes along seamlessly in making the raw conversion from DR 200 (I don't use DR 400 so I can't say when it comes to two stops). At least when using Capture One, you always get an excellent starting point that has me double-checking when DR 200 has been implemented because it looks just about as good as regular exposure. When relying on the underexposure solely, you usually have more post processing to be done to get the right look.

That’s a bit misleading as the DR isn’t increased over what the RAW file can handle, instead the file’s metadata is telling the raw processor how to render the image.  The RAW file is a straight dump from the sensor itself.

By the way, I should mention how often I get into an action situation where the Auto DR does not trigger in one shot, but then a slight shift in my aim or field of view on a zoom causes a bright object, light sky or sun near the edge of the frame to show up and changes in the dynamic range results in the unexpected trigger. I don't have to worry about making exposure comp changes if the priority is to get that special moment. And believe me, you often are making those quick shifts at the time the ideal shot is coming into the frame.

JNR wrote:

Nothing stops me (or you) from dialing in what we believe is the correct amount of under- or sometimes over-exposure compensation in one-third stops - and still utilize the Auto DR to ensure that a blow out does not happen. I often do that. I agree that a full stop of lowered exposure (Auto never implements two stops) seems like it is a bit too much, but then again the loss of the full stop compared to the gain in avoiding blow out is a trade off I will always want to make - because you aren't getting a false trigger.

I always use DR100 and never blow any highlights that I don’t mind blowing.

As the OP indicated, he wants to know how well the system works on Fuji. I'm indicating that it very certainly works better than my experience with Pentax... where lenses (due to reliance on mechanical coupling variances, I suspect), as well as major inconsistencies in implementation from one body model to the next - made the entire exercise a lot of guess work. I haven't had that issue with the X-T20 and X-T2, and I'm pretty sure that the newer models work similarly well

My three Fujis - X-T2, X-T2, and X100V (and an X-T3 I had for a while) all work the same.

. I don't hear complaints about faulty metering, but you do hear many complaints about the histogram accuracy

I don’t recommend using the histograms at all for RAW shooting.

- and whether the warning system (which I find distracting)

If it ‘s blinking enough to be distracting you probably ought to do something about your exposure settings (which is kind of the point). In any case, the blinkies go away with a half-press of the shutter button (and can be disabled in the EVF with the DISP/BACK button on the all the small EVF Fujis that I’m are of).

is triggering after one channel or two channels are blowing out. That's clear guess work going on I don't get when using DR Auto.

In my testing, only one channel typically blows at “first blink”. If you want to avoid clipping altogether (generally a good idea) ,you really don’t want to see any blinking. One EC click below blinking will always yield a good, safe result and leave very little to no wasted DR on the table.

Finally, don't overlook the tonal curves implementation that comes along seamlessly in making the raw conversion from DR 200 (I don't use DR 400 so I can't say when it comes to two stops).

There is NO tonal curve being applied to the RAW files whatsoever when using the DR modes. Lightroom or Capture One simply add the necessary brightness gain to compensate for any exposure/brightness shortfall incurred when using the DR modes.

At least when using Capture One, you always get an excellent starting point that has me double-checking when DR 200 has been implemented because it looks just about as good as regular exposure. When relying on the underexposure solely, you usually have more post processing to be done to get the right look.

Nope, it’s the same either way.

By the way, I should mention how often I get into an action situation where the Auto DR does not trigger in one shot, but then a slight shift in my aim or field of view on a zoom causes a bright object, light sky or sun near the edge of the frame to show up and changes in the dynamic range results in the unexpected trigger. I don't have to worry about making exposure comp changes if the priority is to get that special moment. And believe me, you often are making those quick shifts at the time the ideal shot is coming into the frame.

I almost always shoot with Auto-ISO/SS which will automatically compensate for any sudden changes in available light in real-time. Other than an initial split-second tweak, very little has to be done on my part to compensate manually in any given situation. I have long stopped bracketing in tricky situations as I just don’t need to anymore.

I'm not saying that using DR modes is necessarily wrong for the RAW shooter, if it works for you, it works for you ...and it might indeed work for others. But my method works for me too - without me typically ever having to make any changes to my shooting settings (other than occasional exposure compensation tweaks with my front dial) when going from blazing sunshine to dark interior spaces, to extreme back lighting (or extreme front lighting). it's always fast, precise, and always results in an optimally exposed RAW file every time. It will also work well for others.

Erik

Ysarex wrote:

JNR wrote:

Ysarex wrote:

2) If I'm shooting RAW, does Dynamic Range setting (DR100/DR200/DR400/AUTO) change anything? Should I leave it on Auto or DR100?

3) Same question about D Range Priority - does it affect anything if I'm shooting RAW? Should I leave it on Off or Auto?

Agree with Erick & Martin -- DR & D Range are for JPEG shooters -- leave them off and never think of them again.

Here's another person who has never, ever blown a highlight and indicates how to outguess the camera design - and of course it's OK to have that kind of confidence in your approach. However, misleading a new user on the actual facts crosses a line. DR most certainly was designed for both RAW and JPEG shooters - and please refrain from telling anyone to "never think" for themselves because you know better.

John Peltier is a well-respected pro, and he writes clearly and more intelligently about the topic here than we tend to find in the comments on this forum:

John Peltier has been revising that article for years now and he still hasn't gotten it right. He's handing out misinformation plain and simple. And here you are posting misleading information for a new user -- tsk, tsk, tsk.

"Knowing this, you could just always go out with DR400 set in bright, high contrast scenes to maximize the dynamic range in your RAW file. But this will come with the cost of added noise in your shadows and mid-tones." Seriously? maximizing dynamic range in your raw file comes at the cost of added noise? He's still confused after years.

Honestly, I think you're more confused than Peltier. At least he's trying to explain something and has clear samples. The OP will experiment and find out on his own what works for him - which is exactly what you didn't want him to do. Sorry, but he does have that right to find out for himself. I'd say that wraps up the discussion for now.

https://www.jmpeltier.com/fujifilm-dynamic-range-settings/

Responding to comments from this entry, Peltier is likely answering clearly to the perspectives often voiced on this forum:

"I think there’s plenty of utility for using this in RAW photography.
Consider the documentary, event, or street photographer who is working quickly and doesn’t have the time to analyze highlight clipping while working, but still wants those areas protected. Activating DR200 or 400 will reduce the light reaching the sensor than what would with a DR100 setting, thus protecting highlight areas in their RAW file, assuming lowest possible ISOs. Or that photographer could just use DR100 at the base ISO and expose for the highlights (effectively underexposing the photo a few stops), then work the tone curves themselves in post-processing, but that makes composition overly complicated when you can’t see it. It also depends on the RAW converter they’re using since most will apply the D-Rng curve to the RAW file as shown in my example above.

I have made some edits to this article, mostly adding “for JPEGs” in numerous places where readers assumed I was talking about the RAW, as I did not make a distinction... All we can do is try to give photographers a basic understanding of the available tools and let them decide how/if they want to use them."

I will also add that DR is probably especially designed for pro shooters who live by the motto "time is money" and literally cannot afford to violate the cardinal rule: "be sure to get the shot." DR Auto often is a time-saver when processing, and is the best insurance against the occasional missed shot because it does its job of avoiding blow outs extremely well, but only when needed. Unfortunately, many folks here haven't given it the opportunity because the "never think" mentality is pretty strongly enforced on this issue.

JNR wrote:

Ysarex wrote:

JNR wrote:

Ysarex wrote:

2) If I'm shooting RAW, does Dynamic Range setting (DR100/DR200/DR400/AUTO) change anything? Should I leave it on Auto or DR100?

3) Same question about D Range Priority - does it affect anything if I'm shooting RAW? Should I leave it on Off or Auto?

Agree with Erick & Martin -- DR & D Range are for JPEG shooters -- leave them off and never think of them again.

Here's another person who has never, ever blown a highlight and indicates how to outguess the camera design - and of course it's OK to have that kind of confidence in your approach. However, misleading a new user on the actual facts crosses a line. DR most certainly was designed for both RAW and JPEG shooters - and please refrain from telling anyone to "never think" for themselves because you know better.

John Peltier is a well-respected pro, and he writes clearly and more intelligently about the topic here than we tend to find in the comments on this forum:

John Peltier has been revising that article for years now and he still hasn't gotten it right. He's handing out misinformation plain and simple. And here you are posting misleading information for a new user -- tsk, tsk, tsk.

"Knowing this, you could just always go out with DR400 set in bright, high contrast scenes to maximize the dynamic range in your RAW file. But this will come with the cost of added noise in your shadows and mid-tones." Seriously? maximizing dynamic range in your raw file comes at the cost of added noise? He's still confused after years.

Honestly, I think you're more confused than Peltier. At least he's trying to explain something and has clear samples. The OP will experiment and find out on his own what works for him - which is exactly what you didn't want him to do. Sorry, but he does have that right to find out for himself. I'd say that wraps up the discussion for now.

Sorry, I agree with Ysarex here. There needs to be a distinction made between maximizing DR (which using DR400 does NOT do, and maximizing highlight headroom (which it does …but with a LOSS of signal to noise ratio and overall DR). He should have clarified that by now. Same goes for that Pal2tech guy who’s explanation of the DR mode function is significantly wrong on multiple levels. Most peoples’ understanding of how these modes actually operate and how to use them (or not use them) is fundamentally flawed because of these guys.

https://www.jmpeltier.com/fujifilm-dynamic-range-settings/

Responding to comments from this entry, Peltier is likely answering clearly to the perspectives often voiced on this forum:

"I think there’s plenty of utility for using this in RAW photography.
Consider the documentary, event, or street photographer who is working quickly and doesn’t have the time to analyze highlight clipping while working, but still wants those areas protected. Activating DR200 or 400 will reduce the light reaching the sensor than what would with a DR100 setting, thus protecting highlight areas in their RAW file, assuming lowest possible ISOs. Or that photographer could just use DR100 at the base ISO and expose for the highlights (effectively underexposing the photo a few stops), then work the tone curves themselves in post-processing, but that makes composition overly complicated when you can’t see it. It also depends on the RAW converter they’re using since most will apply the D-Rng curve to the RAW file as shown in my example above.

I have made some edits to this article, mostly adding “for JPEGs” in numerous places where readers assumed I was talking about the RAW, as I did not make a distinction... All we can do is try to give photographers a basic understanding of the available tools and let them decide how/if they want to use them."

I will also add that DR is probably especially designed for pro shooters who live by the motto "time is money" and literally cannot afford to violate the cardinal rule: "be sure to get the shot." DR Auto often is a time-saver when processing, and is the best insurance against the occasional missed shot because it does its job of avoiding blow outs extremely well, but only when needed. Unfortunately, many folks here haven't given it the opportunity because the "never think" mentality is pretty strongly enforced on this issue.

-- hide signature --

JNR

Ysarex wrote:

JNR wrote:

Nothing stops me (or you) from dialing in what we believe is the correct amount of under- or sometimes over-exposure compensation in one-third stops - and still utilize the Auto DR to ensure that a blow out does not happen. I often do that. I agree that a full stop of lowered exposure (Auto never implements two stops)

Auto DR never implements one stop either. Auto DR doesn't kick in and lower exposure when it sets DR200. It's important to understand that and understand what's going on under the hood.

If you have Auto-ISO enabled, it most certainly does (and you should know this).

With AutoDR enabled as well, the camera will indeed automatically raise the ISO from the base ISO of160 up to 320 and purposely underexpose the sensor to increase the required highlight headroom as it sees fit. As an Auto-ISO user, this is one of my primary objections to using AutoDR (or any other DR mode) full-time - and that goes for jpeg shooting too.
In low light situations where you are going to be well above base ISO anyway (and the DR modes don’t have to reduce sensor exposure to increase highlight headroom), I think they can be potentially very worthwhile for jpeg shooters and yes, some RAW shooters too.

seems like it is a bit too much, but then again the loss of the full stop compared to the gain in avoiding blow out is a trade off I will always want to make - because you aren't getting a false trigger.

As the OP indicated, he wants to know how well the system works on Fuji. I'm indicating that it very certainly works better than my experience with Pentax... where lenses (due to reliance on mechanical coupling variances, I suspect), as well as major inconsistencies in implementation from one body model to the next - made the entire exercise a lot of guess work. I haven't had that issue with the X-T20 and X-T2, and I'm pretty sure that the newer models work similarly well. I don't hear complaints about faulty metering, but you do hear many complaints about the histogram accuracy - and whether the warning system (which I find distracting) is triggering after one channel or two channels are blowing out. That's clear guess work going on I don't get when using DR Auto.

Finally, don't overlook the tonal curves implementation that comes along seamlessly in making the raw conversion from DR 200 (I don't use DR 400 so I can't say when it comes to two stops). At least when using Capture One, you always get an excellent starting point that has me double-checking when DR 200 has been implemented because it looks just about as good as regular exposure. When relying on the underexposure solely, you usually have more post processing to be done to get the right look.

By the way, I should mention how often I get into an action situation where the Auto DR does not trigger in one shot, but then a slight shift in my aim or field of view on a zoom causes a bright object, light sky or sun near the edge of the frame to show up and changes in the dynamic range results in the unexpected trigger. I don't have to worry about making exposure comp changes if the priority is to get that special moment. And believe me, you often are making those quick shifts at the time the ideal shot is coming into the frame.

Erik Baumgartner wrote:

Ysarex wrote:

Auto DR never implements one stop either. Auto DR doesn't kick in and lower exposure when it sets DR200. It's important to understand that and understand what's going on under the hood.

If you have Auto-ISO enabled, it most certainly does (and you should know this).

With AutoDR enabled as well, the camera will indeed automatically raise the ISO from the base ISO of160 up to 320 and purposely underexpose the sensor to increase the required highlight headroom as it sees fit. As an Auto-ISO user, this is one of my primary objections to using AutoDR (or any other DR mode) full-time - and that goes for jpeg shooting too.
In low light situations where you are going to be well above base ISO anyway (and the DR modes don’t have to reduce sensor exposure to increase highlight headroom), I think they can be potentially very worthwhile for jpeg shooters and yes, some RAW shooters too.

Erik has this correct, and I certainly respect his decision to compensate on his own rather than ever rely on the body making the decision. Certainly, for shots like the gas station with the bright sign, Auto DR isn't a good idea because it might get fooled into mistakenly underexposing. Given that such a shot isn't time sensitive, you can take a variety of shots at different exposures - or just look at the results for each shot.

However, situations when the change in lighting or shooting angle is changing comes quickly right when you are trying to get a key shot, Auto DR can be a life saver if you don't mind the body doing that thinking. And, for me, Auto-ISO is my most used non-manual setting because I usually know exactly at what SS I want freeze in action to take place, and the optimal aperture / depth of field for the situation and lens used. As such, Auto-ISO is the optimal variable. (I'm not a pixel peeper typically.)

All of these things vary based on the situation. I'm not rigid about any of it. However, I have a lot of experience with using Auto ISO (which typically only triggers for around 5% of the shots when I'm using it)... and I can say with confidence that it does not implement unless the shot has significant blow out. It seems to know that specular highlights should not trigger the higher ISO setting (DR 200).