I like the leaves but I think I'd turn the saturation down just a tad.
Chuck Norcutt
On 10/13/2010 12:03 PM, Ken Norton wrote:
>>
>> Yeah, I'm not convinced. It's not so much the colors; they often look fine.
>> For me, it's the detail. Flower petals have surface detail and vascular
>> detail, that shows slightly when front lit and a lot when back lit. Letting
>> the red channel blow wipes out that detail. You end up with pig areas of
>> just one color.
>>
>
> I've really been trying to avoid pig areas in my images. It's a little
> disconcerting seeing swine take over the pictures. Pork everywhere! I do
> have a pig area on my grill, though. :)
>
> The blown out reds, yellows and oranges is a serious problem with digital.
> It's so easy to go out-of-gamut even when you have protected highlights on
> all three channels in the digital capture step. The reason has to do with
> how pixels are constructed from the bayar array during conversion. Most
> converters choke when you have one or two of the colors at or near the
> maximum because there is a bit of additive going on, not just averaging. If
> the Red channel used in the triumvirate is at 98% and the green is at 98%
> while the blue is at 20%, the resulting pixel will go out-of-gamut.
> Expose-to-the-Right works great when you don't have strong reds, yellows or
> oranges in the image, but when you do, you need the extra headroom to allow
> for a doubling of the brightness value. In audio terms, you need 6 dB of
> headroom to prevent clipping and give yourself a touch of wiggle-room. 3 dB
> is right at the clip point. When Moose dials back by -2/3 of a stop he's
> actually giving himself that headroom to work with during conversion.
>
>
>
>> I prefer to at least try to avoid blown reds, then make sure the color is
>> 'in you face' enough in post.
>>
>
> Absolutely! What I'm doing with digital capture of bright flowers and now
> fall leaves, is to expose the image a bit under or dead on and then boost
> the exposure and saturation post-conversion.
>
> I haven't posted the results yet, but on Saturday I hiked for about four
> hours with the E-1 and L1 at Rock Creek State Park, here in Iowa. 100% of
> the images for this hike were metered with the Sekonic meter with 90% of the
> exposures determined with the spot-meter. Yes, Virginia, every shot was
> taken in manual-exposure mode. Talk about fun! Believe it or not, I
> actually drained the batteries in the meter! Time for a new set.
>
> Anyway, it was rather fascinating because colors which normally cause grief
> did not. The images tended to look slightly underexposed (usually), but the
> conversions were dead-on. By lifting the values and saturation in post I was
> able to keep details in the leaves and the veins clearly show. Also
> fascinating is the L1 images turned out exceptionally well. For some reason,
> the L1 files do not like to be overexposed in any way. That's the most
> sensitive camera to overexposure I've seen. But unfortunatetly it doesn't
> handle underexposures as well as the E-1.
>
> The key to survival in all this, though, is to shoot film. Yes, you heard it
> right. I'm going to suffer the wrath of some, but I'll suggest that one of
> the benefits of film (using this generically as some are better at this than
> others) is the self-attenuating nature of both the highlights and extreme
> saturations. Flowers and fall leaves are both saturated and detailed. Here
> is an example of what I'm talking about:
>
> http://zone-10.com/cmsm/index.php?option=com_content&task=view&id=495&Itemid=1
>
> And another which takes us right to the bloody edge:
>
> http://zone-10.com/cmsm/index.php?option=com_content&task=view&id=431&Itemid=1
>
>
> AG
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