Im­age con­struc­tion

Sun.Star Cebu Weekend - - Lens - Al­bert Pe­drosa

WHEN tak­ing pho­tos, one of your im­me­di­ate con­cerns is ex­po­sure. This cov­ers the over­all cov­er­age be­tween the high­lights and the shad­ows. Your con­sid­er­a­tion is de­cid­ing how much high­light and shadow you will show in your shot. More like work­ing on two ends of an im­age.

There is no way for you to ad­just the mid lev­els or any point of level be­tween the high­lights and shad­ows. In the film days, the char­ac­ter­is­tics of the film to re­act on dif­fer­ent lev­els of shades de­fine the dif­fer­ence be­tween films brands. In the dig­i­tal era, it’s the cam­era man­u­fac­turer’s de­ci­sion on how to process the im­age that is cap­tured by the cam­era.

Light, which by de­fault is ana­log, is recorded through a photo-diode spread on the sur­face of a sen­sor plane. This process is called ana­log to dig­i­tal con­ver­sion. The qual­ity of the pixel that comes out of this process is mainly de­ter­mined by the hard­ware or sen­sor size. Tech­nol­ogy plays a very vi­tal role in this process whether it is a full frame or APS-C sen­sor.

Af­ter the con­ver­sion, you know you have a raw file that car­ries no in­flu­ence or char­ac­ter­is­tic of a par­tic­u­lar brand. This is where the cam­era man­u­fac­tur­ers blend in their se­cret sauce. If it was straight­for­ward, then all raw files would be generic, but no, they add some spice to it and make it their own ver­sion of raw file.

That’s the rea­son why ev­ery time a new model of cam­era comes out, whether it’s the same brand, the raw file that comes out is al­ways unique from the pre­vi­ous ones. Your im­age editor will have to come up with an­other up­date to view and edit the file. With all the en­hance­ments that they can add to the raw file, de­cid­ing which light­ing sce­nario to fix de­fines the taste of your cam­era.

For ex­am­ple, Nikon can still cap­ture good de­tails and con­trast even on back­lighted scenes, while this is just dif­fi­cult for Canon to do. Color and tones, on the other hand, are Canon’s edge over Nikon. Fu­ji­film

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