Hasselblad PR: “Real World” Comparison: Nikon D850 with Decrepit Nikon 17-35mm f/2. 25% Off Coupon Code for Software by LibRaw: RawDigger, FastRawViewer, Monochrome2DNG Notes on the Panasonic S1R RAW RW2 File Format Panasonic S1R: True ISO 50, not a Faux ISO - Kudos to Panasonic (UPDATED: “true ISO” is not a thing for RAW) Sony A7R IV 'Cooks' Its RAW Files, Just Like Its Predecessors Sometimes, Grossly Misleading Errors in Sony RGB Histogram 25% Off Software by LibRaw: RawDigger, FastRawViewer, Monochrome2DNG Black Dots in White Spots 'Pimples': is Leica 'Cooking' the Raw Data with Acutance-Enhancing Imaging Pipeline? (CONFIRMED by a reader, also REPLICATED with Leica M10-R) RawDigger and FastRawViewer Support Sony A1 Lossless-Compessed RAW Perhaps to most of you out there, this is just old hat, but it is a revelation to me.FastRawViewer: Saving me a Lot of Time Organizing My Shoots Into Subfolders + video I am quite surprised by this result but I see no other interpretation. Once I have set the aperture and the shutter speed, exposure needs no further thought. The raw image is completely independent of the iso chosen. Any adjustments due to the iso setting is applied after raw capture and digitization and affects only the jpeg and the display. This is clearly not the case for this camera. I had always worked under the assumption that there was an analog amplification stage between the sensor and the A to D and that the iso setting affected the gain of this amplifier. If I then apply an auto-matched tone curve to them, the result was three different photos that closely matched the jpegs. I confirmed this result by opening a set of three in RawTherapee and applied a neutral profile to each. The surprising (for me) result was that for each group of three, the histograms of the raw files were identical. I decided that the most efficient thing was to sort through these was using FastRawViewer and keep the brightest raw file of each group of three that was minimally blown out. However, instead of having 125 photos to sort through, I now had 375. When I reviewed the photos (jpegs) afterwards everything looked fine some were overexposed, some were underexposed, as expected. The result was a series of three frames for each shot differing only in iso (1, 1/2, 2). I further engaged exposure bracketing at +/- 1ev. I decided to set the camera to spot metering, shot manual at f1.8 and 1/125 and set iso to auto. Last evening I decided to try something different. cameras and through the whole range of ISO settings. And that’s why I can’t illustrate this post with examples. I took a series of photos with ISO bracketing, but FastRawViewer shows them. OE- and UE Indication and Statistics allow for the immediate review of clipped highlights and plugged shadows based directly on RAW data. The camera's sensor is almost invariably overlaid with a color filter array (CFA), usually a Bayer filter, consisting of a mosaic of a 2x2 matrix of red, green, blue and (second) green filters. I would really like to do a Raw Challenge with one of these photos, but I am inhibited because they are “people shots” and I don’t have model releases. Raw files thus contain the full dynamic range (typically 12- or 14-bit) data as read out from each of the camera's image sensor pixels. But seeing into the shadows while simultaneously dealing with (slightly) blown out areas can make post processing frustrating. I adjust the exposure by manually setting the iso. I usually shoot manual – lens wide open (I have four f1.8 primes) at a shutter speed of 1/125s (as low as I feel I can comfortably go). The lighting is atrocious – low on average but with a high dynamic range. I enjoy the music and I enjoy the photographic challenge. I regularly shoot the open mic sessions at my local sports bar. (This is not fundamentally a FOSS issue, but this is the most technically competent group that I associate with.) I would be interested in hearing any comments you may have. I think I’ve figured out what’s going on here, but it has shattered some of my long held beliefs.
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