I see no real difference in contrast levels between K-5 and K-7 raw files. And how flat or contrasty the final image might be can be controlled completely in conversion. It's not an issue. I shot most of yesterday's images in shade with no flash fill, so they were inherently somewhat flatter than what I might generally produce. However, when the sun stepped in, contrast levels were quite high. For example: http://photo.net/photodb/photo?photo_id=11910635 On Nov 7, 2010, at 2:31 PM, Jack Davis wrote:
> Don't know if the lack of contrast you reference is so significant as to be > obvious in casually examining prints, but I have noted, in what relatively > few K-5 images I've viewed, contrast has appeared somewhat low and the image, > of course, a bit "flat".(?) > > Jack > > --- On Sun, 11/7/10, Adam Maas <[email protected]> wrote: > >> From: Adam Maas <[email protected]> >> Subject: Re: On K-5 dynamic range. Somewhat tangential question. >> To: "Pentax-Discuss Mail List" <[email protected]> >> Date: Sunday, November 7, 2010, 10:18 AM >> 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. >> > > > > > -- > 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. -- 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.
