Am 24.03.2011 04:25, schrieb Bob Bright:
Erik, I don't understand why you think this technique is easier.  As you
note, it can be difficult to capture the full dynamic range of a raw
file in a single 16-bit tiff.

It's difficult to find good settings. Once you have them you only need to apply them. And currently, since enfuse doesn't read raw, you would need to do this anyway if enfuse would do autobracketing on it's own.

But it's trivial to capture the full DR
in a stack of tiffs with different EVs.  And (although I'm sure this
depends on the workflow you're accustomed to) feeding the exposure stack
to enfuse strikes me as a lot easier than fiddling with large-radius
unsharp masks, etc. in post-processing.

Unsharp masking is done in a few seconds. If you edit your final images anyway it's almost no additional effort. And you can do it on the finished panorama, which gives you better control. And last but not least editing seams in a panorama is far easier on single shots than on brackets.

And as a bonus, because we're spreading the dynamic range
of the raw file across multiple tiffs, there's little or no benefit to
using 16-bit images, so we can stick with an 8-bit workflow throughout
which saves time, memory and disk space, and most importantly allows us
to do all of our post-processing in the gimp.

Well, of course what's easy or not depends on the tools you use. However, using three 8 bit TIFFs doesn't save anything compared to one 16 bit TIFF.

So what's not to like about pseudo-bracketing and exposure fusion?

I don't deny artificial brackets might be useful in some cases. In some previous post I even gave hints how to automate the process using dcraw. And of course it opens new possibilities: F.e. selective shadow de-noising or a different white balance for each bracket... For panorama stitching if you don't need those specialties it's a clumsy and complicated workflow.

--
Erik Krause
http://www.erik-krause.de

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