Lunch atop a (Springfield) skyscraper

Lunch atop a (Springfield) skyscraper
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2

Auto Lighting Optimizer is one potential culprit, but it is pretty easy to rule that out. The Auto(Basic Zone) mode will default ALO to Standard, so just change your ALO setting to standard in Av and run a test. My guess is that your issue is actually the metering mode though. The Auto(Basic Zone) mode will use Evaluative Metering. Check to make sure your ...


1

There is a looseness or imprecision in the general use of terms like EV and LV that are leading to some confusion here. So first we need to use consistent terminology and labels to unravel this. EV is a relative number, independent of any concept of ISO. There is no ISO anywhere in the EV equation. This agrees with the Wikipedia article on Exposure Value: ...


2

EV, Exposure Value, is used to summarise the two camera settings, exposure time and aperture, in one value. Cementing the idea that there are many pairs of exposure time and aperture that yield a given exposure. If the ISO used is known, or assumed, typically ISO 100, then the EV is directly related to the lighting conditions. Sometimes this is shown as ...


4

Most definitely not a stupid question: I actually wondered the same thing when I first got into shooting raw. Before you can really understand what's happening when you adjust exposure in software, you first need to know what a digital camera's sensor and electronics do when you take a photo: count photons. Each pixel of the sensor essentially records the ...


6

There is nothing special or magical in RAW files. When it comes to exposure and balance, RAW files just store more information about colors, than JPEG files do. Either way, these colors consist of Red, Green, and Blue values and by manipulating these values you can always adjust white balance or exposure, regardless of the file type... in the ideal world. ...


8

You are not actually adding light, you are simply enhancing what little light you gathered. With a JPEG, "stretching" or "pushing" and "attenuating" are all done in the camera, and those enhancements are baked into the JPEG file, which is then lossy compressed and stored in a low precision format (8-bpc, 0-255). With a RAW image, you are storing the ...


3

What's the minimum exposure time that can be achieved in bulb mode? Technically, the minimum exposure time is probably limited by the speed that a person can press and release the shutter button (or remote shutter release). I assume this is somewhere on the order of 0.1 seconds (1/10 shutter speed) or so. However, this is highly variable and difficult ...


1

You were shooting in full Manual mode. Full Manual mode lets you shoot yourself in the foot all you want. Overexposed, underexposed, out of focus, etc. You can do all that in Manual mode. All the other modes on the dial are automated in such a way that you may be able to lock one setting down (aperture, shutter speed, iso, whatever), but the camera will ...


3

Not sure if its a setting I may have changed by accident or something to do with the light sensors? It's very likely that you changed a setting accidentally, or that the light changed and you didn't change any settings to compensate. A passing cloud can make a big difference in the amount of available light. Also, if you were shooting in the late ...


0

All photographers should memorize the basic full "Stops" in exposure as expressed in shutter speed, aperture, and ISO. Once you are familiar with them, any time you change one of the variables it is very easy to adjust one of the others to equal the same exposure. 1/30 1/60 1/125 1/250 1/500 1/1000 etc. (half or double is 1 full stop) f/1.4 f/2.0 f/2.8 ...


1

Let's simplify the problem to understand why we will always have to make compromises. Let's invent the camera you want, but with only one monochrome pixel. It needs to be able to reliably receive and notify the processor of the reception of a single photon. It also needs to be able to receive and notify the processor of the reception of, practically ...


2

The result of using the lens on a crop body is the same as that of using it on a full-frame body and then cropping. To possibly clarify: A picture taken with 1/100s at 50mm/2.8 and ISO 100 on a crop body with have the field of view of a 75mm lens on an FF body, the exposure of an image taken at f/2.8 and ISO 100 on an FF body, the depth of field of an ...


-2

Getting the exposure spot-on is the key to the kingdom in photography. To accomplish this we regulate the amount of light energy projected by the lens and adjust the length of time this projected image is allowed to play on the surface of the digital sensor or film. Too much and the image will be washed out, too little and the image will be gloomy. Now ...


9

The original question is based on incorrect assumption (about digital sensor not changing state during the exposure) but the concept is related to the Quanta Image Sensor (QIS) idea researched by Eric Fossum. http://engineering.dartmouth.edu/research/advanced-image-sensors-and-camera-systems/ The QIS is a revolutionary change in the way we collect ...


11

We already have some of the technology for this. Our term for remembering the sensor readings at each exposure point is "video", and what you are asking for is reconstruction of an optimal still image from multiple video frames. For an overview of Microsoft Research work on this, start here: ...


8

The same light will pass through the lens regardless of the type of camera to which it is attached. Less of that total amount of light will land on the smaller sensor. But exposure, when discussed in terms of varying sensor/film sizes, is not about the total amount of light falling on the sensor. It is about field density, or the amount of light falling on ...


3

Yes, as far as my knowledge goes, [1] and [2] aim for a maximum of captured and accessible dynamic range with a flat gradation (which can then in print be tuned for more contrast), while [3] aimes for a steep gradation curve that might be harder to print (because of the higher density) and may result in thicker grain and loss of tonal range due to the high ...


9

The amount of light passed through the lens stays the same, the lens will still be a F/2.8 lens. Since the smaller sensor only crops out a different area from the illuminated circle, the exposure related properties of the image taking process will stay the same, regardless of the crop-factor.


1

Others have already explained why this won't work, technically. I want to touch on why it wouldn't work practically. If data storage were not an issue, is there any reason this couldn't be the norm, at least for professional and art photography? Consider the magnitude of different lighting conditions that we may want to take photographs of. Even ...


2

Film physically changes over the period of time it's exposed. A digital sensor, though, doesn't; it's just reading data. That really depends on the type of sensor. The kind of CMOS sensors that are used in today's DSLR's accumulate an electrical charge in each pixel over time, so they do, in fact, change over time much like film does. If they didn't ...


19

A digital sensor isn't really best described as "reading data". A much better way to describe it is "collecting photons" that are then converted into data by measuring the microscopic electrical charges they produce once the collection period is over. They do not have the capability to continuously record the changing state of each pixel well as they collect ...



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