Dynamic Range

Our new Dynamic Range measurement system involves shooting a calibrated Stouffer Step Wedge (13 stops total range) which is backlit using a daylight balanced lamp (98 CRI). A single shot of this produces a gray scale wedge from (the cameras) black to clipped white (example below). Each step of the scale is equivalent to 1/3 EV (a third of a stop), we select one step as 'middle gray' and measure outwards to define the dynamic range. Hence there are 'two sides' to our results, the amount of shadow range (below middle gray) and the amount of highlight range (above middle gray).

To most people highlight range is the first thing they think about when talking about dynamic range, that is the amount of highlight detail the camera can capture before it clips to white. Shadow range is more complicated, in our test we stop measuring values below middle gray as soon as the luminance value drops below our defined 'black point' (about 2% luminance) or the signal-to-noise ratio drops below a predefined value (where shadow detail would be swamped by noise), whichever comes first.

ISO Sensitivity and Dynamic Range

At ISO 100 and 200 the E-330 delivers a respectable (and typical) eight stops (8 EV) of dynamic range, above the measured range reduces with each ISO increment due to increasing shadow noise. At ISO 1600 we call shadow range as just three stops (-3.0 EV; from middle gray). Highlight range (above middle gray) remains the same for all sensitivities, around three stops.

Sensitivity Shadow range Highlight range Usable range
ISO 100 -4.8 EV 3.1 EV 7.9 EV
ISO 200 -4.8 EV 3.1 EV 7.9 EV
ISO 400 -4.0 EV 3.1 EV 7.1 EV
ISO 800 -3.7 EV 3.0 EV 6.7 EV
ISO 1600 -3.0 EV 3.0 EV 6.0 EV

Obviously an ISO 1600 image would contain areas of shadow with a level below our 'shadow range' point however it would difficult to make out any detail because of noise, this can be seen more clearly in the 100% wedge crops below. Step 27 represents -3.0 EV on our graph above, each step represents +/- 0.3 EV. As you can see on the ISO 1600 crop it's difficult to make out the difference between the steps below step 27, the amount of noise now overtakes any useful 'signal'. (Note that the crops below have had their brightness boosted to make it easier to see the patches, for unmodified crops click on these links: ISO 100 crop, ISO 1600 crop).

ISO 100 (image brightness boosted)
ISO 1600 (image brightness boosted)

Dynamic Range compared

The E-330 delivers a very similar performance to the Sony DSC-R1, approximately eight stops of range clipping at around 3.1 stops above middle gray. The Canon EOS 350D exhibits just slightly more dynamic range.

Camera (ISO 100)
Shadow range
Highlight range
Usable range
Olympus E-330 -4.8 EV 3.1 EV 7.9 EV
Canon EOS 350D -4.7 EV 3.3 EV 8.2 EV
Sony DSC-R1 (ISO 160) -4.7 EV 3.1 EV 7.9 EV

The wedges below are created by our measurement system from the values read from the step wedge, the red lines indicate approximate shadow and highlight range to the nearest third of a stop (the exact range is calculated to sub-stop fractions and using calibration data).

RAW headroom

Next we will test the additional headroom available in RAW files. Experience has told us that there is typically around 1 EV (one stop) of extra information available at the highlight end in RAW files and that a negative digital exposure compensation when converting such files can recover detail lost to over-exposure. As with previous reviews we settled on Adobe Camera RAW for conversion to retrieve the maximum dynamic range from our test shots.

As you can see from the graph and wedges below Adobe Camera RAW in default mode actually returns a little less dynamic range because of its contrasty tone curve, this turns dark shadows to black much earlier than the camera would. The best we could achieve (with some pretty extreme ACR settings) is around 10 stops total dynamic range.

  • ACR Default: Exp. 0.0 EV, Shadows 5, Bright. 50, Contrast 25, Curve Medium (Default)
  • ACR Best: Exp. -1.25 EV, Shadows 0, Bright. 50, Contrast 5, Curve Linear

One thing to bear in mind is that although ACR was able to retrieve the 'luminance' (brightness) of wedge steps which were previously clipped there's no guarantee of color accuracy as individual channels may clip before others. (Note that the wedge below labeled as 'ISO 100' is of course a JPEG straight from the camera).