| Something that I now find that is more effective is the use of the
| channel-mixer along with blentif. I also am using the lightness tab to
| select the brightest pixels and then I pull the red values slightly
| back which gives the blue values a chance to be seen.
|
| I have however become a lot more cognicent of the problem during the
| shooting session in an effort not to have to deal with this situation
| later on.
As far as I can see the only real way to deal with this during the
shooting session is to underexpose significantly[*], unless I'm missing
something. The current state of affairs really seems to be that
bright but unclipped highlights will be shoved into over-exposure by
darktable's base curves (and sometimes other processing); to avoid this
you must avoid bright highlights in the RAW, ergo underexposure.
(It is easy enough to see this happen by turning on overexposure markers
and then flipping back and forth in the initial history stack between
'sharpen' and 'base curve'. The difference in my sample NEF is quite
striking.)
If I had a suitable step wedge test chart, I would actually do the
experiment to find the first stop of highlights that darktable's Nikon
base curves push into blown highlights. Someone familiar with the code
and the base curves wouldn't even need to do any tests. My guess is that
the important thing to know is the L level that is effectively blown;
base curves themselves are relatively readable in src/iop/basecurve.c.
- cks
[*: here I mean 'underexpose well beyond the point needed to avoid
hard clipping'.]
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