asfenup.blogg.se - Fastrawviewer contrast edges

#FASTRAWVIEWER CONTRAST EDGES HOW TO#
#FASTRAWVIEWER CONTRAST EDGES ISO#

There was a dual benefit in shooting slightly below ‘optimum’ exposure – the corollary with digital cameras is quite rightly that highlights are less likely to blow out, but slightly under-exposing slide film also leads to increased (colour) saturation. Many landscape photographers shooting transparency stock would set their cameras up to permanently under-expose every frame. We were always taught that, if in doubt, it was preferable to under-expose at maybe a third or a half stop. Your thoughts on ‘data collection’ and the conclusion that choosing to under-expose is usually preferable to risking blowing out part of the image is similar in so many ways to how I was brought up to use slide film. For subjects where midtowns are going to be the most important I will push exposure to the right a little, not too much. With my Olympus micro-four-thirds sensors I tend to adjust the overall exposure dependent on the subject matter, so for some, I’ll under expose because I’m really wanting to keep the shadows and get the best color in the highlights I can. I’ve seen similar color shifting in my drone on jpegs but of course, shooting RAW you get down to the base performance capabilities of a sensor. The Sony A7 series, and from what little experience I have with the A9, is probably the most invariant of any sensor so that pushing 1600 to 6400 will yield basically the same result as shooting at 6400, which means for color fidelity, getting a better exposure to begin with doesn’t come with as much of a penalty when pushing shadows as it might for other kinds of sensors.

#FASTRAWVIEWER CONTRAST EDGES ISO#

I suspect the performance variance is connected to a particular sensor’s ISO Invariance factor. What do you notice about your camera sensor when manipulating the Raw data?

Also, there seems to be a Cyan color shift in blue skies when heavy positive exposures are reduced in post.

When pushing the RAW data with a heavy positive exposure, I find highlight recovery to be less than desirable.

I noticed that the Sony’s do not handle highlights as well as other sensors I have used.

I noticed that when I increase the dark areas, I do get noise (not unbearable), but it comes with a green color shift in the shadow areas.

I can get away with a lot of pixel pushing in the dark areas.

When shooting, I tend to shoot more to the left of the histogram as I noticed it handles noise pretty well.

What I have noticed with my Sony Cameras (a7rII and a7rIII): This is probably the most crucial step in the whole process of image editing, so please take the time to experiment with your sensor as you may see different results than the ones in this tutorial. In today’s tutorial, I want to take the time to show you how I analyze data, make judgment calls on tradeoffs, and empower you to experiment with your own data collection device. I haven’t shown you all of these experiments and assumed that you know about this sort of thing. I understand this process, and the importance of the data that I collect, because I have done countless experiments with the received data. I am using my camera (it’s sensor) to collect the data from the scene to use it later in my post-production efforts. When I am on location, I consider myself a data collector. I have done well over 300 tutorials on data manipulation in Photoshop, but I have been remiss about a critical element to the process.

#FASTRAWVIEWER CONTRAST EDGES HOW TO#

More specifically, I show you how to edit your images in Photoshop (data manipulation). Here on f.64 Academy and f.64 Elite, I talk about data manipulation quite a bit.