43

Because "dynamic range" does not refer to a range that is dynamic, but rather to a range of dynamics. For example: range of luminosities or reflectances in photography, or a range of amplitudes in acoustics. Note that "dynamic" comes from Greek δύναμις meaning "power".


29

That's a nice silhouette! You're running into the same problem that anyone runs into when photographing a very backlit subject: a lot of light is coming from the background and creating a drastic difference in ideal exposure between the background and foreground. Given this, you can handle the situation a number of different ways: Change the Exposure to ...


27

Such a thing is seemingly impossible with a traditional camera. I disagree with the premise of your question. People take well-exposed photos that include the sun with DSLR's all the time. If you're using a very wide angle lens outdoors, you may not be able to avoid having the sun in the frame. And yet, there are still plenty of blue sky images. Here's just ...


21

DXO I addition to some of the excellent answers that have already been provided, I'd like to add a small word of caution about DXO's dynamic range numbers. First off, Dynamic Range as defined by DXO is officially the ratio between the saturation point and the RMS of read noise. That is a little different than the ratio between the brightest pixels and the ...


21

That description only represents the "base setting", or "N" exposure, of the Zone System. The idea that the Zone System revolves around 10 exposure steps is a vast oversimplification. There are, indeed, 10 (or, actually, 11) "zones", or major tonal values in the print, ranging from effectively unexposed white paper (at Zone X) to the paper's Dmax at Zone 0. ...


20

There are already camera's with DR larger than the human eye, both instantly and overall. The human eye's dynamic range is not as large as most people tend to think it is. As I recall, it is somewhere around 12 to 16 EVs, which is right around the level of a modern DSLR. The primary difference is that we have extremely natural aperture control that will ...


19

In the immortal words of the late National Geographic photo editor Bob Gilka, "Kid, if you want to be a better photographer, you're going to have to stand in front of more interesting stuff." That said, welcome to the sometimes not-so-wonderful world of the commercial/industrial photographer. As often as not, making a dramatic, exciting picture of something ...


19

It's been done in X-rays. The TimePix is a 256x256 detector. It has three operating modes: the usual "total energy in this pixel since we started integrating"; Time-over-Threshold (TOT): the detected pulse height is recorded in the pixel counter in the TOT mode; and Time-of-Arrival (TOA): the TOA mode measures time between trigger and arrival of the ...


18

You are missing some obvious problems with this idea. You want to "continously" capture the light data, but that's already being done. Apparently you mean to have a series of images available after the exposure, each exposed from the start to times advancing withing the whole exposure. The later images would have more detail in shadow areas, but might ...


18

What exactly limits modern digital camera sensors in capturing light intensity beyond certain point? In terms of the physical properties of the sensor itself: The number of photon strikes and the number of free electrons resulting from such photon strikes until there are no more available electrons with the potential to be freed within each photosite (a/k/...


17

Dynamic range is not measured in f-stops, it is measured in stops. A stop is often used to refer to a change that doubles the value or, in the case of cameras, the amount of light. Changing the aperture by one f-stop doubles to amount of light allowed in, so in the case of aperture, a stop is an f-stop. Similarly, cutting the shutter speed in half is a ...


17

This is the situation when you use fill-flash. Contrary to common belief, flash is NOT to be used in darkness. In darkness flash lights up the foreground and leaves background pitch black. Flash is best used to outshine bright light you can't control (like sun) so you can bring dark foreground up to bright background. This will most likely create white ...


16

How can I make my shots look like this one? I added an emphasis to the question you asked, which is pretty much the answer: You make an image like that. There's no way your camera will produce an image like that directly. No matter what settings you dial in. You have to apply some heavy post processing to get an image like that, the steps are usually: The ...


15

The particulars will be different due to the increased capacity of modern cameras and typical display devices (A good LCD monitor has a slightly wider dynamic range than the photo papers Adams used and those we use today, for instance), but the basic concept remains the same: Divide the available dynamic range for your scene (within the limits of your ...


13

Why don't cameras show a histogram based on the RAW data rather than on the JPG preview? My notion is this: Because it would not be useful, because raw images don't yet have white balance in them, but the JPG images do have WB. For example, Daylight white balance will shift the red channel substantially higher, and the blue channel substantially lower. ...


12

Yes, the evidence that this is a fact is that RAW images are used to make the JPEGs. It isn't possible for a JPEG to have a wider range than a RAW image because the RAW image is the actual sensor data from which the JPEG is made. A JPEG is the processed image produced by the camera taking its best guess at how the image should be processed. It discards ...


12

Changing the exposure compensation or using manual exposure can brighten your subject, but it will also make the sky brighter. Too bright to see the effect of the sunset. You can't change the laws of physics or the physical properties of light. Sunset means darkness and you must provide more light for your foreground subject. This is even more critical ...


11

The phenomenon you describe is called color constancy, and it is enabled partially by the human vision system's chromatic adaptation and partially by something I will describe using the scientific term complicated stuff in our brains. That may sound a bit glib, but this is actually a complicated topic with whole books just scratching the surface and ...


11

You suggest "Or every time a photon hits a pixel on the sensor give it a timestamp" — this would be a huge amount of data. A quick search suggests that each pixel — or sensel — in a digital camera saturates at somewhere between 20,000 and 100,000 photons. Let's say that we're happy with a 12 megapixel camera and are okay with the lower side of sensitivity ...


10

This is simply a problem of dynamic range. When the overall scene is evenly exposed (in this case, slightly underexposed), the light itself is too bright for the range of your sensor. Assuming that you want both the light and the dial to be apparent in the scene (an assumption I make because you say you want to see it as you see through your eyes), you can ...


10

Seeing is an active process A big issue is that looking with your eyes is very unlike capturing an image - an image needs to include all information that the looker might look at, but normal vision is an active process that involves movement of the eyes, refocusing and dilation of pupils according to the objects we're looking at. Thus, if you want to ...


10

Summary: not that good... much less than you expect. One of the best sources of technical articles on the topic are from Clarkvision.com in my opinion, he supports his statements with math and physics (formulas are provided). You can start here and read some other articles. http://www.clarkvision.com/articles/dynamicrange2/ According to him, This ...


10

There is no problem with this photograph, there is a 'problem' with the scene. There is a lot of dust in the air. The dust in the air scatters light around, therefore you 'lose' light from the mountains, and mountains get darker as they are further away. And light coming from other directions is added to the light coming from the mountains, which makes them ...


9

If you make the surrounding brighter, you can decrease the scene's dynamic range. Try casting some light from a white light source on the device and make your exposure shorter.


9

No. This is like saying you can determine the height of a house by counting steps to get up. The size of steps matters and so does the number. Dynamic-range should be determined by the well-depth (size of capacitors at a photosite) and noise floor (how much noise in the system when these is no signal). Knowing these two, one can compute the dynamic-range of ...


9

IntroBased on your questions, I get the impression that you miss one important point, and that is the difference between: light perception in the real world, light perception in the world as humans perceive it, light percetion as your camera's sensor records it, light perception as image formats and your computer perceives (or processes) it. The real ...


9

The problem you are experiencing is the lack of dynamic range (the ability to represent different levels of brightness) in you photo. The first step to increase the dynamic range is to set the camera to capture RAW files. The Raw format saves all of the captured image data from the sensor and this comes with the benefit of increased dynamic range. This RAW ...


9

It is appropriate in situations where you can't capture the dynamic range in one shot and in situations where lifting the shadows would reveal too much noise. Certain landscape shots and night time cityscapes are an example where HDR makes sense. I think it also depends on your style. I personally do not look for maximum detail being captured in images ...


9

The short answer is: When the dynamic range of the scene exceeds the dynamic range you can capture in one shot with raw. A somewhat longer answer is that is that there are complicating factors, for example, recovered shadows may show more noise than a separate image taken at longer exposure, so the quality of the shadows will be better with multiple shots ...


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