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What are the differences in DSLR Brands?

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Showing 226-238 of 238 posts in this discussion
Posted on Mar 15, 2012, 10:52:28 AM PDT
If, some people would listen to what TREY RATCLIFF said in his presentation at google. One of his first photographs that he presented, he basically said " I took this piece of crap photograph with my $9,000.00 Nikon D3, but by bracketing two more images, I was able to make a very nice photograph through HDR processing.
Trey Ratcliff, is a very talented young man, excuse me he is only 40. And he does take some very good photographs. But he makes his money by his books, dvd's and making guest appearances.
The biggest problem, and turn off, about HDR is the lack of study about how to operate the various HDR programs. To the point that a very good photograph either start, or winds up looking like a cartoon.
Again, know your equipment, and know the software that you use to process your photographs. No one piece of software does it all. I use more than one HDR program, just as I use more than one camera or lens.

In reply to an earlier post on Mar 15, 2012, 10:57:24 AM PDT
And all Canon and Nikon DSLRs have had 14bpc ADCs for awhile....keep ignoring my argument.

Posted on Mar 15, 2012, 10:32:24 PM PDT
Last edited by the author on Mar 15, 2012, 10:36:47 PM PDT
Neo Lee says:
I think people here are confused with two sets of terms. 1. Dynamic Range vs. ADC Precision, and 2. HDR imaging vs. Tone Mapping.

1a. Dynamic range of a camera could be evaluated through photographic tests, by shooting at a calibrated Stouffer step wedge lit with a calibrated light source for instance. The photos would be then analyzed by a software to see how many shades of gray the camera can distinguish. The result: Canon 5D Mark II for instance can tell apart about 4,096 shades of gray, that is could be written as 2^12 or 12 EV of dynamic range. It should be however noted that not all shades are equal. Darker the shades, higher the photographic noises, so a sensor that captures 12 EV doesn't mean that the whole dynamic range is usable.

1b. ADC precision of modern DSLRs is usually 14 bit per photosite. The ADC precision does not make a sensor capture 14EV of dynamic range. If the sensor is capable of 12 EV, the dynamic range of the photo will still be 12 EV however high the ADC precision is. There are commercial 16-bit, 32-bit ADC available on cheap too but the reason Canon or Nikon not using those is because it would not improve anything beyond 14-bit ADC, and in fact it is only going to increase the RAW file size.

2a. HDR images are stored in floating-point numbers (0.32, 5.1235, 244.00112, etc) as oppose to LDR images which are stored in integers (i.e. 0, 1, 2, 3). A floating-point number could be internally described from logarithmic components and since dynamic range is more meaningful in logarithmic scale, floating-point numbers are much more efficient for storage and processing. HDR data is scene-based by default, and by that HDR images can only be natively displayed on scene-based HDR monitors and projectors (which right now are either very expensive or prototypes). HDR images cannot be displayed on LDR monitors and projectors; therefore, to display an HDR image on a LDR device (like your monitor for instance), you have to have it tone mapped.

2b. Tone mapping in HDR context is a process that turns HDR data to LDR so that it could be displayed on LDR devices. There are a zillion algorithms an HDR image could be tone mapped to a LDR image. Some algorithms make it look like messy arts. Local Retina Adaptation algorithm modeled after human eyes make it look like as realistic as we would see with our eyes. Reinhard's algorithm is fastest and produces images somewhere in between surrealistic and realistic. The point is, what you see here are the end results of tone mapped images; you're really not looking at HDR images here.

In reply to an earlier post on Mar 16, 2012, 12:32:24 AM PDT
k. sandmann says:
So then which algorithm is best for viewing the underlying structure of the universe?

In reply to an earlier post on Mar 16, 2012, 2:07:44 AM PDT
Last edited by the author on Mar 16, 2012, 2:12:20 AM PDT
Neo Lee says:
That has gotta be Relativistic Spatio-temporal Tone Mapping Operator. If Quantum Mind theory is involved, the Neural Network Tone Mapping Operator is better. Then last but not least, the operator best for viewing alien lifeforms out there should be Genetic Programming (GP) Tone Mapping.

Posted on Mar 16, 2012, 4:46:47 AM PDT
k. sandmann says:

In reply to an earlier post on Mar 16, 2012, 7:18:37 AM PDT
Neo Lee says:

In reply to an earlier post on Mar 16, 2012, 8:55:10 AM PDT
T. Campbell says:
Which sensor and lens do I need to photograph the Higgs Boson? I see they've got this huge contraption at CERN but I'm on a budget and can't afford to spend more than $200. ;-)

Posted on Mar 16, 2012, 10:36:28 PM PDT
Eric Link says:
Here is the real thing... Do you want to learn how to use a DSLR or do you want one that you will simply, for the most part, leave in Program Mode; that is, the camera just asks you to point and shoot and it will do the thinking? If you want it that simple then find a camera body that is comfortable to hold and grip, where the adjustments, if you need to make them, are simple to get to. You will find that generally most sports shooters are Canon and most National Geographic types are Nikon shooters. That is a hint! It is easier to use a Canon! I, on the other hand, use Nikon and have for over thirty years.

In reply to an earlier post on Mar 17, 2012, 7:38:57 AM PDT
T. Campbell says:
You're thinking of 'auto' mode. In 'program' mode you still get to think. I'm not sure everyone understands the difference.

'Auto' mode is basically for those who don't know how to set exposures. The camera will make every decision *except* tell you what to point at and when to press the button. You can use a "scene" based mode on a consumer body (pro bodies don't have "scene" based modes) if you know, for example that you're taking a "portrait" or "landscape" or "action" shot and the camera will bias the exposure to settings more optimal for the type of subject. 'Auto' mode also locks out the ability of the photographer to alter most settings... you can't change ISO; can't do exposure compensation; etc. On my camera you can change the drive mode (single shot vs. continuous, etc.) and you can change whether you want RAW vs. JPEG, etc. and that's about it. Basically it's designed to save you from making a change that would limit the cameras ability to take the best shot. This is perfect for people like my dear 'ol mom -- who don't understand exposure settings and fear that touching the wrong button on the camera would make some change that ruins all their photos. You cannot make a change that ruins all your photos if the camera is in 'auto' mode.

'Program' mode is different. It only starts out working like 'auto' mode, but you get to tweak it. If I tap the AE button on my camera, the computer tells me what exposure setting it intends to use for the shot. But I can then roll through all the equivalent exposures... so if I realize I want to increase the DoF, I can just roll the selection wheel to pick something with a higher focal ratio. I can change the metering mode, change the exposure compensation, etc. etc. In many ways, using "program" mode is as complex as using "manual" mode because you have as many decisions to make. The only real difference is that the camera takes the initial stab at the exposure and you don't _have_ to change anything.

I grew up shooting with cameras before the days of automatic (I've used Rolleis, Hasselblads, Canons, Pentax, Mamiya, ... the list goes on.) None of them had automatic anything (well.. the Canon was an AE-1 so it would set the aperture... but that's it!) I actually had to learn to use "program" mode... it didn't come naturally to me (and by "learn to use" I really mean "learn to take full advantage of....").

But when I finish shooting, I've learned to get into the habit of returning the camera to either Program mode or FULL AUTO mode (yes... the shock of it all!). There's a reason for this. I've learned that just occasionally something will happen where you realize you need to grab the camera and take a photo QUICK. If you take the time to check which settings the camera was left on and then change to whatever you need for the shot, you may miss the shot. So basically the camera is left in a default read-to-go mode that will probably catch the shot if I have to grab and shoot in a hurry.

I encourage anyone with a DSLR to leave full 'auto' mode and never use it for normal shooting (as I explained... I only "park" the camera in that mode so that it's ready for "emergency" shooting.) Using 'manual' mode is the best way to learn about exposure. Really... if anyone isn't comfortable with this mode, they're doing themselves a bit of a disservice, should buy a book, and force themselves to learn to use that mode. If you can shoot in full 'manual' mode, then you can shoot in ANY mode.

I would disagree with that "most" sports photographers use Canon and "most" Nat Geo shooters use Nikon. It really does seem to be a mix all around. I don't know that you could use the term "most" for any type of shooting. Both Canon and Nikon make a range of bodies that have been optimized for certain types of shooting... so you can find studio bodies, portrait/wedding/landscape bodies, sports & wildlife bodies, etc.

In reply to an earlier post on Mar 17, 2012, 8:04:26 AM PDT
Neo Lee says:
LOL TC, that would be some kind of graviton sensor. Give me $200, I'll deliver in year 2100. :D

Posted on Mar 17, 2012, 11:53:54 AM PDT
k. sandmann says:
Yes indeed most people won't admit to ever using program mode or heaven forbid auto!
If I have 15 or 20 seconds Before shooting I switched to a.v. or t.v..
I do use manual a lot but it just depends on the circumstances and subject.

Shezz just yesterday afternoon I was layin belly down in the grass at the arboretum trying to manually focus on some interesting foreground foliage at the edge of the pond. So what happens at this point? Of course the geese now decide to come buzzing at me from across the pond zipping above me about 15 feet overhead.
So what happens in the 15 to 20 seconds within wich this took place? First and foremost shock so thats 5+ wasted seconds, more seconds wasted flipping to program mode and then add insult to injury the realization that I was still in manual focus.


Stuff like that happens all the time and I can't be the only 1.
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In reply to an earlier post on Mar 17, 2012, 12:03:20 PM PDT
k. sandmann says:
What you really need is the new hybrid organic processing unit.
The military has given us this amazingly wondrous technology that can be adapted to our need's.
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Discussion in:  Photography forum
Participants:  44
Total posts:  238
Initial post:  Feb 7, 2012
Latest post:  Mar 17, 2012

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