On 13/11/2013 1:49 PM, Larry Colen wrote:
On Wed, Nov 13, 2013 at 01:17:23PM -0600, Bill wrote:
On 13/11/2013 11:00 AM, Darren Addy wrote:
The info is right there in the review. In short, there is more info to
recover in the SHADOW areas of the K-5/ii/iis than the K-3.
As we all know, if you blow out highlights, that info is just GONE.
Interestingly, we were able to make film work, and work well even
with this very limited DR of well under 10 stops.
The reason for this is because the DR of most scenes fits into a 6
stop range.
You can believe this or not, or you could do something smart and
take a color blind light meter out and measure some scenes to see
what you come up with.
And then come back and tell us why 14.5 stops is so much more
necessary than 13.5 stops.
What you are saying is that for reasons unknown, perhaps a side
effect of climate change, the world has gotten a hell of a lot
contrastier in the past 15 years.
Or, you don't know what the fuck you are talking about.
bill
Or, just possibly, some people photograph different things than you do.
We got great shots on film, so why would anybody need anything
that performs better than it?
We already have things that perform close to three times as well as
film, and the half stop to a stop of DR that is being discussed probably
isn't going to bring the house down.
Maybe film saturates differently than
digital sensors. I could never afford to to much serious photography
with film, so I'm not well versed at how it handles at the edges of
the performance envelope.
Better than digital actually, however the performance envelope is a lot
smaller.
Have you ever photographed a musician on stage and tried to keep the
color in the gelled stage lights? That's a case where
I want more dynamic range than the K-5 can give me.
Yes I have. And to do it, I worked with the lighting guy to give me a
workable solution.
Likewise I do a lot of photography at light, or in dark rooms, with
well lit corners, and even with 14 stops of DR, I need more. But, I'm
not really getting those 14 stops, because I have to push the ISO
much harder. Shooting ISO 6400, those 14 stops become a lot closer to
8 or 9.
So by your own admission a stop difference in DR isn't going to do
anything for you, as your situation is already artificially set up to be
well nigh impossible.
bill
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