At low ISO's yes to some extent. It depends on what you photograph. Ralf's work is a DR torture test but even a normal landscape scene can easily exceed 14 stops of DR if sunlit and having any deep shade.
-Adam On Sun, Nov 7, 2010 at 1:23 PM, Boris Liberman <[email protected]> wrote: > So, Adam, /in principle/ or /in general/ what you say is that unless > one is doing some very special kind of photography such as what Ralf > is doing with so much success, the difference between K-5 and K-7 will > be (very?) subtle and hard to see. The difference in DR will be less > profound due to the specific tuning of the metering of each camera and > also, as far as I understand, the ultimate test of print or photograph > on computer display will result in much more similar results than it > might seem from the mere spec comparison of these cameras. And more so > if one is doing relatively simple and relatively mild post processing. > Is that so? > > On Sun, Nov 7, 2010 at 8:18 PM, Adam Maas <[email protected]> wrote: >> On Sun, Nov 7, 2010 at 12:46 PM, Boris Liberman <[email protected]> wrote: >>> Hmmm, so a camera with so many bits of RAW can do what then? Discern >>> 2^so many shades, right? >> >> Exactly. >> >>> And the dynamic range is about when it goes >>> to saturation either to pure black and pure white. >> >> Pure white and indistinguishable from noise (not pure black). The >> noise floor determines the actual dynamic range's low end. >> >>> Ok, so tell me >>> then, the wise people of PDML, is there a way looking at the same >>> picture shot with K-7 and K-5 to tell them apart? Or better yet, how >>> do I /see/ that one camera has wider DR than the other and that more >>> BPS in RAW are more beneficial than less BPS in RAW in real life. And >>> how all that translates to actual print? >> >> The bit depth of the RAW files shows up in subtle gradations of colour >> and in shadow noise. You get more subtle colour/tone resolution and >> less shadow noise with a higher bit depth ADC than with less (the >> shadow noise improvement is due to exactly how ADC's work with linear >> imaging sensors, you lose luminance resolution at low luminance >> values. Digital delivers superb resolution of bright tones and poor >> resolution of dark tones). In the real world, shadow noise is the >> easiest to see, especially on a camera which can shoot in both 12 and >> 14 bit modes like many Nikons. >> >> More dynamic range allows you to make less trade offs in exposure at >> shooting time. The more DR you have, the more you can hold detail in >> both the highlights and the shadows at the same time. The downside is >> the self-same image will be lower contrast when rendered and you >> usually have to make those trade offs in post instead. >> >> >> -Adam >> >> -- >> PDML Pentax-Discuss Mail List >> [email protected] >> http://pdml.net/mailman/listinfo/pdml_pdml.net >> to UNSUBSCRIBE from the PDML, please visit the link directly above and >> follow the directions. >> > > > > -- > Boris > > -- > PDML Pentax-Discuss Mail List > [email protected] > http://pdml.net/mailman/listinfo/pdml_pdml.net > to UNSUBSCRIBE from the PDML, please visit the link directly above and follow > the directions. > -- M. Adam Maas http://www.mawz.ca Explorations of the City Around Us. -- PDML Pentax-Discuss Mail List [email protected] http://pdml.net/mailman/listinfo/pdml_pdml.net to UNSUBSCRIBE from the PDML, please visit the link directly above and follow the directions.
