Great to see you here. Join our insightful photographic forum today and start tapping into a huge wealth of photographic knowledge. Completing our simple registration process will allow you to gain access to exclusive content, add your own topics and posts, share your work and connect with other members through your own private inbox! And don’t forget to say hi!
There wasn't much wrong with DP1's image quality either, just the camera had idiosyncrasies which turned many, including myself off. The DP1 wasn't my first Sigma, but it would be my last; I never owned a camera that would actually get in my like this one. Between my three Sigma made cameras I don't even have a single image that I can call a keeper... Aside from their horrible bodies I never owned a Sigma lens that I liked either and DP1's was no exception. So now DP2, no, thank you!
I have to say that I would strongly disagree. Did you look at the highlights in the clothesline closeup? In the window frame that's a very hard clip to blown white, more like a threshold. Most camera manufacturers try to use the highlight room to avoid clipping like this.If you look at his work with the DP1,
he seems to like exposures like that.
I think it's a style thing and not so much
a fault of the camera.
Well, it beats the heck out of Tri-X in any developer.....I agree. Both SD-14 and DP-1 have insufficient dynamic range, especially in the brighter areas.
Trouble is that the clipping is there in the RAW file anyway. Taking it back to an even lower exposure would help but then then you have extreme shadows to deal with.The obvious fix, of course, is to shoot raw, expose at -2, and do autoexposure in postprocessing. But you can forget Jpeg.
Sure, but that's true for all sensors - there is a hard ceiling in terms of the highest value that the sensor can read. Unlike film, a sensor is linear in its response. So what some camera makers do is define white as 1-3 stops below what the sensor can handle, and then when creating a Jpeg use a tonemap function to wrap overexposed values into the range limited by the white point, creating a smooth transition into blown highlights. This is very similar to slide film (but not negative film which is approximately logarithmic in its response).Trouble is that the clipping is there in the RAW file anyway. Taking it back to an even lower exposure would help but then then you have extreme shadows to deal with.