![]() ![]() (Indeed, is there _any_ modern real-world situation in which a camera's sensor is what limits a photographic capture's dynamic range?) They ooh and aah and gush over the magical color of this-or-that lens.and then put a "protective" filter over it that alters the spectral output more than the difference caused by the lens they don't like - not to mention the color cast from that billboard looming behind them as they shoot.Įven in a studio setting.many studios are so poorly set up that a photographer's choice of clothing is going to have more of an impact on the final color rendition than any gear selection choices available to mere mortals. People get all excited about a new sensor with 13 stops of dynamic range which is so much better than the old-and-busted model that only had 11.5 stops.and are completely oblivious to the four stops of veiling glare and mirror box reflections from the Sun hitting the front element of the lens. Photography perfectly exemplifies that old adage about measuring with a micrometer, marking with chalk, and cutting with an axe. I haven't done any objective comparisons between models, but I'd bet a cup of coffee that there's about as much variation from one serial number of the same model to another as there is between different models - and any such variation is going to be overwhelmed by the differences between successive firings of the same flash. In RawDigger, we use a 4圆 grid to extract average RAW values from 24 patches of Color Checker.įor what it's worth, when building spectral models of Canon camera sensors, I've been struck by the at least superficial similarity between them. ![]() It must be mentioned that light sources tend to age, so if the shots aren't taken very close in time to each other, chances are good that some of the differences between them can be attributed to the aging of the light sources.ĭPReview keep a pretty good studio set-up, so let's take their studio scenes, made with 4 Canon cameras (Canon 5D Mark III, Canon 5D Mark IV, Canon 5DS, Canon 5DSr), and feed them to RawDigger (Profile Edition or Trial). Let's see how cameras compare in RAW if the set-up is kept very close to the same and the exposure is effectively equalized in RAW. Yet another problem with such comparisons is that they are usually made based on shots taken with different lenses, under different light, and with effectively different exposures in RAW (while the exposure settings may be the same). Thus, an unknown variable, that being the color profiles or transforms that a RAW converter uses for these particular models, comes into play. It often happens that the color is compared based on the rendering that some RAW converter provides. ![]() Quite often, when a new camera emerges on the market one heavily-discussed subject is if the color it records is the same, better, or worse compared to a previous model. ![]()
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