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RawDigger 1.0.6

Changes

  • Support for Nikon Small Raw (D4s NEF Size S):
    • To extract unprocessed YCC data, switch on
      Show YCbCr data for Canon/Nikon sRAW files in Preferences - Data Processing.
    • To disable Cb/Cr interpolation, switch on "Do not interpolate Cb/Cr channels data (Canon/Nikon sRAW)" in Preferences - Data Processing.
    • In RGB-mode ("Show YCbCr…" setting is off) the image is rendered from luma and color-difference data:
      * linearized

RawDigger: detecting posterization in SONY cRAW/ARW2 files

RawDigger. Star Trails

Lossy compression of raw data is currently the only option available in Sony cameras of series NEX, SLT, RX, ILCE, ILCA, and the recent DSLR-A.

The first part of this article is showing how to detect artifacts caused by this compression. We will be discussing the technical details of this compression in the second part of this article.

In the vast majority of cases, the compression artifacts are imperceptible unless the heavy-handed contrast boost is introduced. There are, however, exceptions. With some unlucky starts in alignment, the artifacts can become plainly visible, even without much image processing.

All that is necessary for the artifacts to threaten the quality of the final image is a combination of high local contrast and a flat featureless background.

Lets have a look at the example, which was first published by Lloyd Chambers in his blog.

RawDigger 1.0.5

New Features

  • New Sony processing mode
    Preferences - Data Processing - Sony ARW2 processing options - Delta step relative to value
    This mode is to display the ratio of the minimum delta step to the pixel value. For those image areas where this ratio is large and the contrasty details do not exist (like it is in the sky) the normally processed image may exhibit visible posterization. The values are displayed in per mil (a tenth of percent, or one per thousand).

RawDigger Histograms, part 3: Overexposure Shapes

RawDigger.

Different cameras, even if based on the same sensor, may render extreme highlights at around clipping point differently, and differently, with different values of clipping points, depending on ISO setting. It is important to recognize the look and calculate the practical clipping point, which is not always the same as the maximum raw value.

Here we will try to demonstrate the typical “looks” of the histogram of the clipping zone.

RawDigger histograms: Part 1. What is the raw data histogram?

RawDigger. What is a histogram?

This article is the first of a series, dedicated to explaining what is the histogram of raw data, what are the various ways of exploring it in RawDigger, how it can help to better understand how your camera functions, and how it can aid in improving your shooting through better understanding of raw data. In this one, we are going show you how to navigate the RawDigger histogram.

Before we get to any of this, however, let’s define what exactly IS a histogram of raw data?

Note: If you know what a histogram is, and know the difference between the histogram on the back of the camera and the histogram of the raw data, feel free to skip to the next part. But maybe even if you think you know all about the histograms the below is worth reading.

Exposure for RAW vs. Exposure for JPEG

RawDigger. Shot exposed for RAW

Adams has prescribed the Zones. 11 of them. This had consequences. In the digital case, it seems, severe ones.

To access all 11 zones on a sensor, the middle tone needs to be placed very low, 5 steps lower than sensor saturation.

The reduced number of tones (or, in other words, limited number of levels per stop or zone) turns into the loss of detail resolution. Pulling details and color from those underexposed middle tones and shadows is very painful. Noise starts to raise its head, color smudges and blotches appear, the details become rough, and the image loses plasticity.

The riddle of the intermediate ISO setting

ISO to Noise Ratio

If one is shooting in raw, they may be interested to see if there is any benefit in using intermediate ISO settings, such ISO 125, 160, etc.

There is, however, no single answer to this question. Why? Because everything depends on how you implement these intermediate ISO settings in the particular camera. Sometimes they are implemented the same way as the main ISO settings, but sometimes they are the result of certain manipulations, such as digital multiplication.

We are going to take series of shots varying ISO settings from the lowest to the highest using, of course, every intermediate ISO setting available. The subject of the shots doesn’t matter – hell; you can even shoot with the lens cap on.

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