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Re: [OM] Which Grad ND system if any do you like?

Subject: Re: [OM] Which Grad ND system if any do you like?
From: Wayne Harridge <wayneharridge@xxxxxxxxxxxxxxx>
Date: Thu, 03 Jun 2010 08:44:09 +1000
Same thing with white balance, if you let the camera do it (e.g. for tungsten 
lighting) the blue channel gets approximately 2 stops less light than the red, 
then when you boost the blue in raw conversion you pull in extra noise and also 
reduce your effective dynamic range by 2 stops.  Better to use an 80A filter to 
get the WB at least close then just make small adjustments in post processing.

...Wayne


> Ken Norton <ken@xxxxxxxxxxx> wrote:
> 
> Trying to respond to this again... Don't you love mail client programs
> that can't figure out the account an email is tied to?
> 
> I'm personally a fan of on lens filters. First of all, I shoot mixed
> formats and secondly the less bit-bending you have to do in post the
> better. Sure, you can apply gradients in post, recover highlights and
> even pull shadows up 14 stops, but in doing so you lose color
> fidelity, tonal gradients and end up pulling shadow noise up where it
> shouldn't be. With most digital files if you try to recover the shadow
> too much you see a nasty shadow transition as well as color shifts.
> Highlight recovery may also cause unusual color shifts at the extremes
> in exposure.
> 
> But my approach isn't an either or, but not being afraid of using both
> techniques. Is there anything wrong with trying to get it right
> in-camera? Of course not--provided that it isn't a hardship to do so.
> 
> Ag
> 
> 
> On Wednesday, June 2, 2010, Bob Whitmire <bwhitmire@xxxxxxxxxxxxxx> 
> wrote:
> > You just don't blow out the sky. You know the drill: expose for the
> > highlights, post process for the shadows. <g>
> >
> > Of course I don't recall now if we were talking film or digital, but
> > if shooting digital, push that histogram all the way to the right--
> > after experimentation to see when stuff really does start getting
> > blown out. It's my understanding that the histogram you see on the
> > back of the camera is generated from the in-camera .jpg, and does not
> > necessarily closely relate to the actual RAW file. Without
> > experimentation, it's not terribly reliable. I've messed with the D3
> > enough now to pretty well tell when I've pushed to the limit. There is
> > an incredible amount of information in those highlights that is
> > recoverable with the proper post-processing approach.
> >
> > And watch that "fake filter" talk, Bub. <g> ACR's graduated filter is
> > no more fake than a piece of glass hung out in front of your lens.
> > It's just different.
> >
> > --Bob Whitmire
> > www.bobwhitmire.com
> >
> >
> >
> >
> >
> > On Jun 1, 2010, at 8:45 PM, Sue Pearce wrote:
> >
> >>
> >>> If you use ACR, you've got a built-in grad filter that's infinitely
> >>> customizable. Add the gradient feature in Photoshop and you can 
> leave
> >>> the filters at home. Not necessary.
> >>>
> >> I'm having trouble understanding how this is suitable. If a sky is
> >> blown
> >> out, no amount of curves or fake filters can get info that was never
> >> there.
> >>
> >> Bill Pearce
> >
> > --
> > _________________________________________________________________
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> >
> >
> 
> -- 
> Ken Norton
> ken@xxxxxxxxxxx
> http://www.zone-10.com
> -- 
> _________________________________________________________________
> Options: http://lists.thomasclausen.net/mailman/listinfo/olympus
> Archives: http://lists.thomasclausen.net/mailman/private/olympus/
> Themed Olympus Photo Exhibition: http://www.tope.nl/

...Wayne

Wayne Harridge

http://lrh.structuregraphs.com
-- 
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