10-21-2010, 01:53 PM
[quote name='Brightcolours' timestamp='1287662703' post='3717']
What you see has little to do with dynamic range, but rather with tonal contrast/curves, i am quite sure. Film has a lower DR than digital.
Your screen (and your prints) are not even able to show the dynamic range of your photos... they are dynamic range limited. Increasing the dynamic range of sensors will not help much.. it is in how to compress the dynamic range available from the sensor data into the range that you are able to print which makes all the difference.
Where film has an advantage is in how it rolls off the registration of bright stuff... it simply does not register it all. Film sort of registers light already in an S-curve (not sure if that is the correct way of saying it, if not I am sure Wim will correct me).
But in short... it is not the dynamic range of sensors that is lacking, it is the linear nature of the light capturing that makes the character of the tonal contrast different (and less appealing to you). Understanding this will bring you a long way in post processing images to approach the character of film.
[/quote]
You are right, although generally there is a slight s-curve present already, essentially due to the nature of the processing from sensor data to RAW. However, it is a far step from the s-curve we naturally get with (B&W) film. Hence my suggestion to add that in the RAW-conversion process, something I personally always do, unless DR is well less than 5 stops (virtually never).
Kind regards, Wim
What you see has little to do with dynamic range, but rather with tonal contrast/curves, i am quite sure. Film has a lower DR than digital.
Your screen (and your prints) are not even able to show the dynamic range of your photos... they are dynamic range limited. Increasing the dynamic range of sensors will not help much.. it is in how to compress the dynamic range available from the sensor data into the range that you are able to print which makes all the difference.
Where film has an advantage is in how it rolls off the registration of bright stuff... it simply does not register it all. Film sort of registers light already in an S-curve (not sure if that is the correct way of saying it, if not I am sure Wim will correct me).
But in short... it is not the dynamic range of sensors that is lacking, it is the linear nature of the light capturing that makes the character of the tonal contrast different (and less appealing to you). Understanding this will bring you a long way in post processing images to approach the character of film.
[/quote]
You are right, although generally there is a slight s-curve present already, essentially due to the nature of the processing from sensor data to RAW. However, it is a far step from the s-curve we naturally get with (B&W) film. Hence my suggestion to add that in the RAW-conversion process, something I personally always do, unless DR is well less than 5 stops (virtually never).
Kind regards, Wim
Gear: Canon EOS R with 3 primes and 2 zooms, 4 EF-R adapters, Canon EOS 5 (analog), 9 Canon EF primes, a lone Canon EF zoom, 2 extenders, 2 converters, tubes; Olympus OM-D 1 Mk II & Pen F with 12 primes, 6 zooms, and 3 Metabones EF-MFT adapters ....
