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.
I'm with Boris on the importance of dynamic range and completely
disagree with the point of view that 6 stops of dynamic range is all
one needs for most scenes. I think you are confusing the dynamic range
of the OUTPUT (like a JPEG on a monitor) with the usefulness of the
dynamic range in the RAW that you will use to GENERATE the output file
(to monitor or print). It is always useful to have more info to draw
from in the source RAW.
What you seem to be confusing is the number six, which is the bit depth
of most monitors with 6 stops, which is the outside dynamic range of
most any scene you might care to photograph.
I don't know how long you have been involved in photography, I don't
know if you have ever shot a roll of film in your life, but colour slide
film at best had a 5 to 6 stop range, colour print film about a 7 stop
range, and if you were careful, B&W could be coaxed into a 14 stop
range, though 8-10 stops was more or less what one would get with
conventional Zone System exposure and development. Using non specialized
development, B&W was limited to about 8 stops.
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
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