Dynamic Range and Exposure

Hi,
This is slightly off topic, but I'm hoping someone might be able to shed some light on issues that I'm experiencing with noise and and posterisation in the shadow areas of shots taken in dimly lit situations. The effect is most noticeable on indoor portait shots - and is common despite correct exposure information in my Canon 5D. I understand the need to bias exposures towards the right of the historgram to ensure maximum dynamic range, but I'm finding this quite challenging to accomplish in practice, without blowing out the highlights.
I'm using fast and expensive glass (e.g. EF24-70 F/2.8 L), and am lead to belive that the 5D has one of the best low light sensors around.
No amount of tweaking in Aperture seems to help (e.g. Chroma Blur) - so I'm running out of ideas (I've tried a variety of ISO settings etc. on the camera). Is this a case of camera technique ? Should I surrender to the flash - or is there anything else I can try.
Thoughts appreciated.
Paul

Hi Paul
Do you have an sample image uploaded some ware that I could have a look at.
I am making the assumption that you are shooting RAW. I am not studio based but have shot a lot of low light images with the 1D/1D MKII/s and I tested a 5D that I had on loan from Canon, the 5D is probably the best low light camera I have used so far.
One trick you may wish to try is running your image trough Noise Ninja!! This seems to pull detail out of the shadows as well as cleaning the noise.
Powerbook 1.5, PowerMac Quad, MacBook Pro Mac OS X (10.4.8)

Similar Messages

Dynamic range of exposure for t3i/600d

can someone help me by providing the dynamic range of exposure for t3i. (dynami range - Lowest and highest exposure range in terms of f-stops for a given scene)
Solved!
Go to Solution.

See: http://www.dpreview.com/reviews/canoneos600d/12
Their testing seems to indicate that it's about 5 stops below and 3&1/3rd stops to 4&1/3rd stops above (depending on if highlight tone priority was swtiched on.)
I think those were JPEG tests (I didn't see any indication of RAW and they usually go out of their way to let you know when they're doing RAW.) There is substantially more bit depth in RAW so it's likely to do a bit better if you shoot RAW.
If you're shooitng anything where you are worried about dynamic range then you should probably be shooting RAW anyway.
Tim Campbell
5D II, 5D III, 60Da

Dynamic Range and Native ISO information

I manage the mobile app "Formats" (https://itunes.apple.com/us/app/formats/id890528993?mt=8), and I'm looking to find information on a number of Canon camcorders. In particular, I'm trying to verify the dynamic range and native ISO of the following cameras: XF100XF200XF300 I called Canon customer service and was told they "dont publish that infromation". Can anyone help me? Thanks!

zakray wrote:
I manage the mobile app "Formats" (https://itunes.apple.com/us/app/formats/id890528993?mt=8), and I'm looking to find information on a number of Canon DSLRs. In particular, I'm trying to verify the dynamic range and native ISO of the following cameras: 5D Mk II5D Mk III6D7DT5i I called Canon customer service and was told they "dont publish that infromation". Can anyone help me? Thanks!Dynamic range varies depending on the definition used.You might want to check clarkvision.com.

Dynamic Ranges and Dynamic SQL

Hi,
I have built a table of ranges and would like to use them in an sql query. Ive had a look but cannot think of a way to get this to work.
I have a table of fieldnames and a table of ranges. Does abap have a way of selecting a element from a table so I can generate the following sql.
select * from table
into some_table
where
    'FIELD0' IN range[0] AND
    'FIELD1' IN range[1] AND
    'FIELD2' IN range[2] AND
    'FIELD3' IN range[3] AND
I know how to build dynamic sql thats the easy bit. The hard bit is inserting a reference to a table element dynamically into the sql :S
Any help would be much appretiated,
Thanks,
James

hi,
Yes, We can make use of Subroutine pools.
This is from F1 help about dynamic where..
1. This variant is exclusively for use with SELECT. The
     internal table itab can only have one field which must be of
     type C and not be greater than 72 characters. itab must be
     specified in parentheses with no blanks between the
     parentheses and the table name. The condition specified in
     the internal table itab must have the same form as a
     condition in the ABAP/4 source code. The following
     restrictions apply:
- You can only use literals as values, not variables.
<b>     - The operator IN cannot be used in the form f1 IN itab1.    </b>
Regards,
Sailaja.

How to create high dynamic range image in Photoshop Elements 2.0?

I wonder if it is possible to Photoshop Elements 2.0. Any advice would be greatly appreciated.

If you are talking about the idea of merging exposures IN ELEMENTS 2 and you are shooting RAW, you can do what Barbara suggests: Open the file once with favorable settings for the bright parts of the image and a second time for the shadows and merge. In Elements 2, the images will not open in 16-bit, and will be converted immediately to 8-bit. You will find that registration is right on, but there will be issues with the process if you want to retain higher bit counts (which to me is really the only way to have higher dynamic range in reality). I don't know where these started to be called 'high-dynamic range', and I think it is really a bit of a misnomer--especially in 8-bit. Even Elements 5 will not support 16-bit images with layers, so the opportunity to get true accentuation of dynamic range is...limited.

LR dynamic Range Technic?!

hello everyone,
i came accross this video which i can't find again that shows some kind of a technic of handeling images.
and it's as follows:
taking the highlights all the way down to -100
takingthe shadows all the way up to +100
than,
move the whites up with the alt key pressed untill clipped highlights occur.
move the blacks down with the alt key pressed, untill clipped shadows occur.
now i do see what it does to the image, but i wondered if someone is familiar with this technic and can explain furthuer what can be the uses of such a technic?
thank much

ShacharOren wrote:
you said it all
And yet I could go on for days (but don't worry: I won't - or at least I'll try not to ).
Perhaps another formula which also has some redeeming qualities (oriented toward more natural results which incorporate exposure and contrast adjustments too):
* If obviously over-exposed, reduce exposure some, else pass.
* If obviously under-exposed, increase exposure some, else pass.
* If obviously overly contrasty, decrease contrast some, else pass.
* if seemingly under contrasty, pass (note: the distinction here: it's often impossible to tell if a photo is under-contrasty until blacks and/or whites are adjusted).
then
* adjust blacks
repeat.
The take-aways so far:
* you can't adjust exposure and contrast in any meaningful (or near-final) way without blacks in the ball-park, so don't try.
* you must use -contrast to knock overly contrasty shots down, lest you end up with a very unnatural looking photo.
* you don't want to use +contrast unless a shot really needs it, which you can't tell until blacks (at least) are in the ball-park.
If I've relayed the importance of not deferring blacks slider too long, then you got most of my point so far.
Now do something similar but different:
* If not occupying full (enough) dynamic range on the right, increase whites some.
* if too bright, reduce exposure.
* if still overly contrasty (or lacking in highlight/shadow detail), -highlights & +shadows.
repeat.
Conceptually:
* you don't want to rely soley on -contrast for reducing contrast, lest you end up with an anemic looking photo (that's where the -highlights +shadows comes in).
* You want to use whites slider for maximizing dynamic range without overexposing (and if you crank whites up, you may need to compensate by dropping exposure down - and in doing so, you'll reveal more highlight detail, and thus not need so much -highlights).
The astute reader will have noticed: I left +contrast out of the formula. Not sure what to say, except in my opinion, increasing contrast is more of a "fine-tuning" activity, than getting blacks/whites/exposure balanced, which is primary. In other words, once one has basic dynamic range and brightness established, they can play with increasing contrast, and/or adding clarity, and tweak the others in concert.., to finish.
PS - skewing (asymmetrical) highlight and shadow values I also consider a "fine-tuning" activity, at least for normal photos where a fairly normal result is desired.
Examples:
* if you want a brighter photo without excessive shadow brightness/detail, and with recovery of stubborn highlights, you may need:
+exposure -highlights -shadows.
But if you want a relatively dim photo but without closed-out shadows, you may need:
-exposure +highlights +shadows.
If you are after artistic effect, then forget all of this - no rules! (except maybe #5: have fun).
UPDATE:
=======
The original formula, set forth by Adobe/Eric-Chan, Lee Jay, Victoria Bampton, etc. went more like this:
* Adjust exposure as if it was the only adjustment you'd be allowed to make, until photo looks as good as possible with only exposure adjusted, then
* Adjust contrast as if it was the only remaining adjustment you'd be allowed to make, until photo looks as good as possible with only exposure and contrast adjusted, then
* Maybe adjust highlights and shadows...
* Only adjust blacks & whites if necessary to set clipping points.
Please forgive if I haven't paraphrased 100% accurately (in the interest of making a point), but the formula was known as "top-down" - and it had that name because the sliders were considered to be pre-ordered as they should be adjusted: most bang for buck at the top, and on down...
I think this formula was invented due to dependent behaviors of PV2012 sliders (e.g. you don't want to dive into +shadows before considering +exposure because exposure influences range of tones affected by shadows slider), and I also suspect it was at least partly influenced by Revel, which has same sliders as Lightroom, but without the blacks & whites. Nevertheless, such formula so does not work for me, again: YMMV.
=======
Cheers,
Rob
Message was UPDATED by: Rob Cole

What's the dynamic range of PCI-6289?

Dear Sir:
Could you tell me the dynamic range of PCI-6289?
Is there any difference using PCI-4472 or PCI-6289 when measuring vibration signal?
Thank you!
Regards,

Hello,
The PCI-4472 would be best suited for vibration measurments. It has 24-bit resolution, Simultaneous Sampling, Hardware Time-to-Frequency Domain Conversion, 110 dB Dynamic Range, and hardware filtering. See the following Link for more details on the 4472: http://sine.ni.com/apps/we/nioc.vp?cid=10572〈=US
The 6289 was not built with vibration analysis in mind, the the dynamic range is not spec'd.
Let me know if you have any further questions.
Sean C.

X-tended dynamic range versus x-tended dynamic range pro: what's the difference?

What is the difference between X-tended dynamic range, Sony's version of HDR, and X-tended dyanmic range pro?

Hello,
The PCI-4472 would be best suited for vibration measurments. It has 24-bit resolution, Simultaneous Sampling, Hardware Time-to-Frequency Domain Conversion, 110 dB Dynamic Range, and hardware filtering. See the following Link for more details on the 4472: http://sine.ni.com/apps/we/nioc.vp?cid=10572〈=US
The 6289 was not built with vibration analysis in mind, the the dynamic range is not spec'd.
Let me know if you have any further questions.
Sean C.

ACR and dynamic range tests

I have been looking at dynamic range tests on dpreview.com for different cameras. I'm particularly intrigued by the "RAW headroom" graphs. They have things like "ACR Best: Exp. -0.85 EV, Shadows 0, Bright. 70, Contrast -25, Curve Linear" (Pentax K10D), "ACR Best: Exp. -1.3 EV, Shadows 0, Bright. 70, Contrast -50, Curve Linear" (Canon 30D) "ACR Best: Exp. -1.0 EV, Shadows 0, Bright. 70, Contrast -50, Curve Linear" (Canon 400D). The "RAW ACR Best" curves for all these cameras are very different, and I don't think I understand their real meaning, so here are a few questions:
- What is a "linear curve" in ACR? Does it mean no curve at all is applied to the RAW data, and so what we see is the actual sensor response? Or, does ACR apply a standard curve to RAW data from all cameras, even when a "linear curve" is selected? Or even yet, are there different default curves (even with "linear curve" selected) for different cameras in ACR, and what implications would this have when comparing graphs from different cameras?
- Since these cameras have most likely been processed with different versions of ACR (since they were released at different times), could ACR's algorithms and defaults have been changed in any way that might prevent these tests from being readily comparable? For example, the noise reduction and highlight recovery algorithms might have been improved in the latest versions of ACR.
Thanks,
Marcos

>- What is a "linear curve" in ACR? Does it mean no curve at all is applied to the RAW data, and so what we see is the actual sensor response? Or, does ACR apply a standard curve to RAW data from all cameras, even when a "linear curve" is selected? Or even yet, are there different default curves (even with "linear curve" selected) for different cameras in ACR, and what implications would this have when comparing graphs from different cameras?
ACR will not give you the actual sensor response with no white balance or gamma encoding; for this purpose you need a specialized program such as DCRaw. If you convert into sRGB or aRGB, the image is encoded with a gamma of 2.2, whereas a gamma of 1.8 is used for ProPhotoRGB.
If you want to linearize the tonal response in ACR you can set the sliders on the basic tab to zero (Exposure, Brightness, Contrast to and Shadows). Curves was added in ACR ver 3.X and you should also set the curve to linear. The Medium and Strong Contrast in the curves tab adds to the Contrast slider in the basic tab, and I think that the two were not merged for reasons of backward compatibility. In all cases, the resulting image is gamma encoded. To learn more about these controls, I would recommend Bruce Fraser's Real World Camera Raw for PSCS2 book. The Exposure and Black sliders set the black and white endpoints respectively. The contrast control applies an S curve around the midpoint, which is set by the Brightness control (see p 81). Jeff Schewe is revising the book for PSCS3 due out shortly.
Dynamic range is limited by the noise floor and improvements in noise reduction in the current version of ACR could affect the results. Phil's dynamic range measurement uses highlight recovery with the Exposure slider (negative values). ACR 4.1 also has the Recovery slider, but he apparently does not use this control.

ACR Defaults and Dynamic Range

The tone curve in ACR has a profound effect on the dynamic range of the rendered image, and often this is not appreciated by users. To demonstrate the effects of the tone curve on DR, I photographed a Stouffer step wedge with the Nikon D3 and rendered the image into a TIFF with various tone curves and determined the resulting dynamic range with Imatest.
Here is the target rendered with the ACR defaults for this camera, which include a black point of 5 (downsampled and shown as a JPEG):
http://bjanes.smugmug.com/photos/422699368_FRdKT-O.jpg
Shown below is the resulting characteristic curve as determined by Imatest along with the DR and other data. The total dynamic range is only 7.64 stops. This low DR results from the default black point of 5, which rolls off the darker tones as shown on the graph.
http://bjanes.smugmug.com/photos/422697342_tnUFo-O.png
By setting the black to 0, the total DR is increased to 12.3 stops and the useful photographic DR according to various quality levels is shown.
http://bjanes.smugmug.com/photos/422697338_5e8pv-O.png
One can also use a linear tone curve by setting all the basic settings to 0 and the point curve to linear.
http://bjanes.smugmug.com/photos/422697332_u59B5-O.png
For convenience, the tone curves are shown together here.
http://bjanes.smugmug.com/photos/422697328_26BFV-O.gif
One might wonder why Adobe chose a default black value of 5 for the D3, since it severely limits dynamic range by rolling off the blacks. The probable answer is that the full DR can not be reproduced on screen or in print without using a tone curve that would give the image a flat and unattractive appearance. Note that the darker steps of the Stouffer wedge are not distinguishable on the screen but differences can be noted if one measures the values with the eyedropper in PS. The default setting of 5 rolls of shadows which would not be reproduced and enhances contrast in the remaining image.

>Why? Real World Camera Raw is platform agnosticaside from the fact that most all of the images contained in the book happen to come from cameras Bruce and I had/have and those are Canons. To the best of my knowledge, there is nothing in Camera Raw that is camera model dependent except for the DNG Profiles and the baseline demosiacing and noise reduction which vary camera by camera. Why should I care about the Nikon D3 specifically?
In 35 mm style dSLRs (which I would venture to say are used by the vast majority of ACR users) Nikon and Canon are the two major brands. One thing that is camera specific is the baseline exposure offset that ACR uses for these cameras. For the Nikon D3 (and other recent Nikon cameras), ACR uses a baseline exposure offset of +0.5 EV. If you don't know this and try to expose to the right as much as possible, the histogram will appear overexposed in ACR when in reality the channels are far from clipping.
This is demonstrated in the following screen capture using ACR defaults with an Exposure value of 0. The highlights of the target appear blown.
http://bjanes.smugmug.com/photos/423897106_wvzqw-O.png
They also appear blown using the new beta profile, which does not take the baseline exposure offset into account.
http://bjanes.smugmug.com/photos/423897066_xeHoi-O.png
Looking at the raw histogram with Rawnalize, we see that the channels are not blown:
http://bjanes.smugmug.com/photos/423898181_md3kC-O.png
And here are the actual raw values for the red, green and blue channels (highlighted) of Step 1:
http://bjanes.smugmug.com/photos/423901972_MguxL-O.png
The raw headroom in each of the color channels (as shown in the raw histogram) also has something to do with the amount of highlight recovery that is possible. I would think that these considerations would be of inerest to the readers of your Camera Raw book.

SOS(The Question of SVXMPL_Settled Dynamic Range (DAQmx) example in Sound and Vibration Toolkit)

The SVXMPL_Settled Dynamic Range (DAQmx) example in Sound and Vibration Toolkit only run one time.
How do it ? I want to run again and again.
Sorry, my English very poor.
Windows XP P
LabVIEW 7.1 P
Sound and Vibration Toolkit 3.1
帖子被jwdz在10-22-2005 11:00 PM时编辑过了
" 一天到晚游泳的鱼"
[email protected]
我的个人网站：LabVIEW——北方客栈 http://www.labview365.com
欢迎加入《LabVIEW编程思想》组——http://decibel.ni.com/content/groups/thinking-in-labview

Hi:
I have simulated PXI-4461 in MAX,but the SVXMPL_Settled Dynamic Range (DAQmx) example in Sound and Vibration Toolkit can not right run.
Windows XP P
LabVIEW 7.1 P
DAQmx 7.5
Sound and Vibration Toolkit 3.1
" 一天到晚游泳的鱼"
[email protected]
我的个人网站：LabVIEW——北方客栈 http://www.labview365.com
欢迎加入《LabVIEW编程思想》组——http://decibel.ni.com/content/groups/thinking-in-labview

How does "High Dynamic Range" Photos work?

I see that I'm getting two photos from each shot. I suppose that's because I tabbed "on" the selection to keep the regular photo.
What's going on with "High Dynamic Range" photos and how can I tell which photo is the regular photo and which is the HDR Photo?
Also, is that something new with iOS 8?

You're welcome. Here's the HDR from the IOS 7 User Guide.
“HDR
HDR (high dynamic range) helps you get great shots, even in high-contrast situations. The best parts of three quick shots, taken at different exposures (long, normal, and short), are blended together into a single photo.
Use HDR. (iSight camera on iPad 3rd generation or later) Tap HDR. For best results, keep both iPad and the subject still.
Keep the normal photo in addition to the HDR version. Go to Settings > Photos and Camera.
HDR versions of photos in your Camera Roll are marked with “HDR” in the corner.”
Excerpt From: Apple Inc. “iPad User Guide For iOS 7.” Apple Inc., 2014. iBooks.
This material may be protected by copyright.
Check out this book on the iBooks Store: https://itun.es/us/fJctQ.l

High Dynamic Range

First, a disclaimer. After 23 years of PC use, I converted to Mac only two months ago (why didn't I do this years ago???). I am a photojournalist and am now heavily into using Aperture, which I L-O-V-E. What I'm trying to say here is that I'm a newbie!
Question: Is there a way to combine 3 bracketed images to create one High Dynamic Range (HDR) photo within Aperture? If not, is there a software add-on or plug-in that I can buy for Aperture to accomplish this? I also use Photoshop Elements 4.0 for Mac as my External Editor, so do I need to use something for PSE to accomplsih this?
Any help would be greatly appreciated.

I didn't think it was too hard, but I don't know how others would find it. I think you can download it and use it unregistered with a watermark to test it.
Basically, you export your 3 (or more) images from Aperture using 16 bit tiff. Then drag them into Photomatix. You can then have about 5 different ways to convert an image, but there is only one that I really bother with most of the time. I have it generate an HDR file from the 3 tiffs, and then use "details enhancer" under "tone mapping". You'll have a few sliders to play with to get it how you want.
Here is my favorite I've made, I used 5 exposures (-2,-1,0,1,2)
http://homepage.mac.com/cookiemonster/fallconference2006/large-11.html

High Dynamic Range Photos

What are the procedures to produce High Dynamic Range photos in Photoshop CS6?

Like any HDR photos - you start by photographing multiple exposures and then use Merge to HDR.
Mylenium

Dynamic range: NEED SOME HELP (any help i can g

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and i forgot to list my hardware specs:?Athlon64 3200+ @2.6ghzGskill PC4000 2XGB ramGeforce7800GTXFI Extreme Music (Dell's crap_ missing some features that's suppose to be there in the retail versions)DFI NF4 Ultra-D moboDual 0,000 RPM (2 X 74GB)?WD raptors, 0 array, + 2 Maxtor 200GB (for storage)Enermax 600watt PSUNEC 6X DVD romToshiba external HD-DVD dri've?WinXP SP2?Message Edited by howzz854 on 04-08-200704:28 AM

Dynamic Range and Exposure

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