>> The E-3's sensor behaves rather badly in the DR department. You are
>> battling pattern noise in the shadows and brick-wall clipping on the
>> high side.
> I believe "Sux" is the short term.
Certainly very true with in-camera JPEGs. You'll lose a good stop on
the top end with in-camera JPEG. However, the camera seems to do a bit
better with shadow noise than computer-based processing does.
If, and that's a huge IF, you are able to nail exposure and the
overall scene dynamic range fits within sensor limits, and you are
shooting at lower ISOs, the E-3 is just about flawless with the
images. So, under ideal conditions, it is perfectly acceptable.
Probably the sensor that I've fallen in love with the most, just
behind the E-1's is the one in the Panasonic L1. While it may not have
25 gazillion pickles, what it has is a sensor with just about no AA
filter, outstanding color response and decent dynamic range. The
colors are "different" than the E-1's, but not in a bad way. For the
most part, it's hard to say that one is actually "better" than the
other, except for specific subjects and lighting. Sunset colors go all
Trump (Orange) with the L1, but other than that, the saturations are
quite workable. When processed with SilkyPix, color and tonal
gradients are as full as anything. But you still get dots with ACR.
That sensor is only held back by the camera which just needed one more
minor firmware update.
But the subject of dynamic range is certainly one to get friends to
fighting. To me, there is still nothing quite like a long and low
shoulder and toe in a good B&W film. When it comes to measurable DR,
my Canon 6D blows the socks off of my E-1. Especially in the highs.
But when it comes to actual USABLE DR that allows you to do things
with it? Not so much. Just because you have a sensor with broad
response doesn't mean that it's a response you want to use.
AG
AG Schnozz
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