FUJIFILM Dynamic Range setting explained - This is how it works and when to use it.
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- čas přidán 10. 07. 2024
- I show you how the Fujifilm cameras Dynamic Range (DR) setting works and when to use them. I give example images and test photos to show you the results of using the different DR settings.
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TIMESTAMP
0:00 Intro
1:32 Dynamic Range
3:10 DR Settings in camera
3:20 Test shots
4:00 ISO settings
4:30 Example images
6:18 Conclusion
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This series on the detail of Fuji camera settings is most helpful. Thanks.
Pleasure - thanks for watching!
Hello Chris. I can't find words to thank you for your videos and especially new series on Fuji settings! I have been a long time iphone photographer but recently picked up Fuji XT-1 with 35 mmf2 to learn everything I can about camera photography, and this switch is quite overwhelming as you have way more buttons and settings to play with than on the iphone. Your videos are really something! Found you as I've been looking through the whole Internet to learn more on XT-1 and hocked on to your videos with simple and down to earth style.
Thank you again for the value and great content you put out, Cheers!
Thanks for this Chris. I'm new to Fuji since picking up a second hand T-X3. This video has perfect timing as I have been reading up on the DR and dual native ISO. It's quite a pill. Especially when you mix photo vs video. Here is my understanding after this video based on T-X3. ISO 640 should be acceptable noise. Use DR100 in situations with majority of shadow in frame. Use DR400 to protect highlights on a bright day for example.
that's it - experiment with it and see how it works outside and inside, as the shadow areas outside should be more forgiving, especially on sunny days.
I'm also new to Fuji after recently buying a used X-T3. I'm loving using it and am enjoying discovering settings such as the dynamic range extender that Chris ably demonstrates in this video.
Thanks Chris, can’t wait to try out. The X-T1 you’ve been glowing about this camera. So much so I’ve got mine back out of its case. Cheers Brian.
Thank you so much for your videos Chris! Very well explained and helpful to me after I switched to Fuji from Canon and after a 5 year break from photography. Absolutely missed the feeling of holding the camera and now being able to take new images with the brilliant film filters Fuji came up with. Will definitely check out your other videos to progress further.
So thankful for this, Chris! Your explanation made perfect sense to me. I've been leaving DRP on 100% because I didn't know what it did but now I understand!!
Glad it was helpful!
Perfect video tutorial. Exactly what I was looking for. Thanks!
Pleasure 👍
Thank you so much, as a new X-T3 user at last an explanation on DR that makes sense.
Glad it was helpful! 😊
I'm also a new X-T3 user and would agree that Chris makes this potentially helpful feature easy to understand.
Chris as always bang on helpful info 👍 thank you
Absolute pleasure 😊
This is also in my old Fuji exr point and shoot and it’s amazing on that so will try on my xt4
Thanks a lot! Hugs from Portugal!
so helpful, thank you!
pleasure, thanks!
Helpful! Thanks!
Great, thanks for the information.
My pleasure!
Essentially this setting turns down the analog gain by 1 or 2 stops. You can experience the result by using a raw editor that does not automatically correct for this. I use darktable and if I shoot at DR 400 I will have to increase the exposure by 2 stops. This is not a problem because it will certainly protect your highlights. The tradeoff is a bit more noise in the shadows. Generally I think the tradeoff is worth it. Once you clip highlight sensor data it is gone it is much easier to recover the shadows. Most of the commercial software like Lightroom and Capture One will automatically compensate for this.
Why would there be more noise if the ISO is invariable? Could you elaborate on that?
@@matango1979 you or your developing software will have to increase the gain after the signal is converted to digital. When doing this the increase is applied across the entire signal including to any noise that may be present. The increase in noise is a minor effect and usually worth the trade-off if you need to preserve highlights. You will likely only notice in extreme pixel peeping. Invariability in a sensor really only means that it tends to respond very well to amplification in the digital realm without adding a lot of artifacts. I once had a Canon DSLR from around 2008 that this technique would not work with. If you tried to under expose and later recover in post the noise would be overwhelming along with severe banding. You had to pretty much nail your exposure at your set ISO. Not a lot of wiggle room with that one.
@@JHuffPhoto Interesting. I researched this topic and I was under the impression it does not introduce any noise at all. That was supposedly the whole point of this technology, but I might be wrong of course. Thank you!
@@matango1979 as I said, the amount of noise this feature adds is minimal and certainly would not make or break your photo. I never hesitate to use it when I want to preserve highlights in a high contrast situation. There is no free lunch. They call it the exposure triangle because anything you do to one (of the three) settings affects the others. This is just an extension of that philosophy. Any setting change you make will have an effect on not only the characteristic you change but on some other characteristic. A focus on basic exposure control and good composition will have a much larger effect on your results than worrying about excess noise.
These latest videos are just so helpful. I switched from Canon 5D mark 3 last year to an X-T3 and am still getting to grips with it. Simple question, is it worth my updating to X-T5 when I can afford it?
Happy to see the tta 35mm f0.95 featured.. love this lens with my xpro2
Lifesaver! Thank you so much :)
You're welcome!
Learnt something!!
helpful. thoughtful. thank you for the effort and the sharing. if i may: with the XT1, are you comfortably noise free at ISO 800? 1600? what about the XT2, noise free at 1600? (i have both the XT1 and XT2, and you were referring to the XT3 and the GFX cameras in your vid.) thumbs up.
Pleasure - thanks for watching 😊 oh yeah, very comfortable with the xt1 and xt2 regarding noise. It will definitely have more noise and so won’t be as clean at 800, so it’s worth checking when you’re taking a photo and using this feature, especially if the shadow areas are very strong.
Thank you..!
Thanks
I use highlight tone priority on my Canon cameras which does the same thing.
People scream about OMG your lowest ISO is 200 or 640 in the case of my Fuji cameras. I doubt anyone can tell the difference in noise but the noise is only in the shadow detail and not the mid tones or nightlight areas. Fuji noise looks pleasing anyway.
Is it ok if I set the DR to auto and let the camera decide what DR?
I would say that it is rather the size of the pixels than the sensor, all else being equal. It is entirely possible for an APS-C camera to have more dynamic range than medium format, but that constellation of pixel and sensor size doesn't exist, with identical technology.
Dynamic Range is a strange beast. If the Fuji is truly ISO invariant (as we're told it is) then you can replicate DR400 in bright scenes by simply shooting with a quarter normal exposure and then boosting the non-highlight areas by up to four times back on your home computer. Not that you'd want to, as it's an editing hassle.
If you take your Fuji and increase DR from 100 to 400 when you'd normally shoot at ISO125, it will indeed protect the highlights but also add a tiny bit of (ISO500 minimum) fuzz into the picture. The DR 400 will literally have reduced the light on your sensor down to a quarter, which is quite spooky when you think about it. (For example, a 500th/second F2.0 ISO125 shot at DR 100 becomes a 125th/second F2.0 ISO500 shot at DR 400). But, as long as you don't mind that tiny ISO500 fuzz, you've saved your highlights.
If you take your Fuji and increase DR from 100 to 400 in a gloomy scene where you'd be at ISO500+ anyway, your DR100 and DR400 shots will be the same.
It's an artistic etc decision whether you actually like blown-out areas in a photo and whether you care about accessing the best light quality (and least ISO fuzz) possible.
For me, although I hate giving up on finest ISO125 picture quality, I'm happy to pay the tax always of being at ISO500+ for the comfort of knowing two stops worth of highlights are protected. So I'm on DR400 for my street snapping and anywhere that risks blown-out highlights. And knowing that, in gloomier light (where I'd be at ISO500+ anyway), I've lost nothing anyway compared to DR100.
The above is based on my tests and research, but this is a slippery topic and I might find reasons to change.
(As an aside, DR400 can be impossible with mechanical shutter on bright says as it'll be too bright to run ISO500 on normal shutter speeds).
Basically crank it up to 400% if there are harsh highlights? And regular use either 100 or 200? I'm Curious how big of a difference there is between 100% and 200%.
What would be scenario of downside of setting it to DR400?
Does this works for when shooting videos?
Hi Chris, thank you for the very helpful video. What I still don't understand is the difference between the settings "DR-P" (DR 100%, 200%, 400%) and "D Range Priority". The two settings are mutually exclusive.
thanks - DR-P, Dynamic Range Priority is more like a package setting. Similar to Dynamic Range, but it combines both the Dynamic Range setting and the Highlight/Shadow Tone setting to do it. hope that makes sense 👍
@@ChrisOrange that also explains why you can't change the tone curve during DR-P. Thank you.
Is this setting basically the same as exposing for the highlights and recovering the shadows in post, but doing it in-camera?
I thought the same thing. Isn't it just better to recover in post?
Great tutorial! Thank you. Just to be clear, do you suggest making these adjustments based on each scenario of shooting (change every time) or do you suggest leaving the settings at either 100%, 200%, or 400% all the time based on simple preferences of exposition as a "default" preference setting? [EDITED] I just watched your most recent video on DR and I think the answer is there!
Yeah, I’d just use the DRP option instead. I’d probably change it per shot if I was using it for landscapes. Or at least, change for each scene to check it was the best option.
Where in the world are you getting this "GFX medium format is 7 times larger than a full frame sensor"?
GFX sensor is 43.8x32.9mm, while full frame is 24.0x36.0mm... So around 1.6 times larger, not even close to 7 times larger.
yeaaaaa I think auto everything is gunna work for me
Hi! How does this function work in auto? Carl-Magnus
It just switches between 100% and 200%, as long as your ISO is high enough for the 200%
Hi Chris, thanks for the explanation on this, i've never really used this feature to be honest! I often bracket exposures if i need more dynamic range but if there's movement in the scene this should be the ideal thing to use i assume? My question is if you're using DR200/400% would you expose differently? Favour the left or the right on the histogram for example? Thanks!
Great explanation, but I'm wondering is there a reason why you wouldn't just use the Auto DR?
As stated in s comment above, for artistic expression if you don’t mind blown out highlights and you are more happy with the hard contrast a DR100 % can give you. It’s all about experimenting with the different DR modes and settings.
Thank you for your fabulous tutorial. Down to Earth, easy to follow explanation. Truly Blessed Explanation
RustyIron mike
Pleasure 👌
Please correct me if I'm wrong but shooting raw there is no need to use the DR function. You could have achieved exactly the same effect by exposing for the highlights and then lifting shadows in post.
Not actually true! The dr range seems to get baked in the raw file which is not the best thing someone would want I guess.
I noticed for myself that at DR400 the noise in the shadow areas is not very pretty.
@@ioanniskostopoulos1210 So what exactly is not true of my statement?
Hi there, it does get baked into the RAW file, but it's supposed to give even more dynamic range to the RAW file. I guess for some situations it will not be good in shadow areas, but for some situations the protection of the highlights will be more important in the image. Like most of these things, there's a time for them to be useful, but not every time 👍😊
Hi Chris, your domain photographymadesimple no longer exist? That is very sad I just found your channel and wanted to read 😮
Regards Peter
Yeah, it ran for a year but could no longer afford to keep it going after that sadly.
Medium format is not "7 times bigger than a full frame sensor". Even if you go with some of the largest medium format film sizes, it's not that much. It's closer to 4x. Fuji's medium format sensor is smaller even than a 645 frame, and is only slightly bigger than traditional full frame sensors. Fuji's medium format is around twice as large (2x) as a full frame sensor. The focal length conversion is only .8 to go from a full frame field of view to a Fuji medium format field of view.
The sensor is 1.7 x bigger than full frame.
@@ChrisOrange At 20 seconds, you say "medium format sensor which is like seven times bigger than a full frame sensor" so I wanted to point it out.
@@ChrisOrange you said "seven times" in the video, and also say "seven times" in your written article. 7 times larger would be 700%, not 170%.
Can turn off Dynamic Range?
I want to highlight what I would call an minor inaccuracy -- processing itself is not responsible for the dynamic range of an image. The larger the pixels are in an image sensor, then the more accurately it can detect the difference between light and dark. This is the initial point where your camera can have a different dynamic range from another, so the more granular your sensor is, the more latitude (or the less aggressively) your processor needs to adjust the ISO to capture the desired dynamic range. Modern phones have very fast processors, with very good graphic units. A well written processing software (in the case of phones, your camera app) will fully leverage the graphics horsepower on the chip to apply effects to multiple exposures taken from the image in a short period.
The reason Fuji cameras have minimum ISO requirements for different levels of dynamic range is because increasing the DR value also increases the number of stops up/down the camera will take the extra exposures. By pushing these "bookend" exposures further, you get more total information. After these multiple exposures get processed, you keep the highlight levels of the lower exposed image, and the shadows of the higher exposed image, but composited on top of the middle exposure for the mid-range detail. People used to do this process by hand in Photoshop or Lightroom, but many cameras have it built in now.
Hi Matthew, thanks for pointing that out - super helpful! 😊
Human eye 20 Stops ?
7 times bigger than a full frame sensor?
1.7 x
So... Why not just leave it on 400 all the time?
I guess if you didn't have a challenging shot, and wanted as little noise as possible...
24 seconds in you tell us the GFX sensor is "seven times bigger than a full frame sensor". You're off by 900%. This is where I stopped, since it's impossible to trust anything else you have to say.