AJSJones wrote in post #17101397
We've seen that DR is commonly measured by determining the full well capacity (saturation) and noise floor (the luminance value above which a signal can be detected) and expressing that as a ratio. This is completely different from the concept of tonality
of steps from darkest to lightest luminance in the DR - the DR is the height of the staircase, the tonality is the number of steps to get to that height)
I think we may be discussing different things here. I cannot understand your points above because I am unfamiliar with (I don't know what you mean by) "tonal DR" and "effective DR". Could you explain what you mean by those terms and how they are different from the data above (full well to noise)?
I think the main thing we're not seeing eye to eye on is the definition of dynamic range, as relating to computer graphics. The main aspect of DR in photography is the ratio of your brightest luminance vs your darkest. Tonal range is not completely separate: it is the digital representation of the DR of an image (light intensity is now contrast range). The final dynamic range of any posted images is 8bpc. The scene has one DR scale. The sensor has another. Your final image is another. In previous posts, you've been putting a lot of significance towards the noise floor of a sensor: which does make your lower stops of light cleaner.
However, the reason computer graphics have 16 and even 32bpc image files is to adequately simulate light intensity in tonal form.
I am wondering how Nikons handle highlight recovery. In previous examples of HDR images, the initial exposure looks a bit underexposed from what I'm accustomed to shooting a Canon. Yesterday, I took a few shots of a HDR image just to show how with a Canon you should be shooting for the highlights. From what I see, this is how I'd shoot to get effective DR with a Canon:
My histogram is showing a lot of clipping at white, but based on experience, I know my highlights are recoverable. I also don't have to bump up my shadows: with a Sony sensor, you would be able to have more latitude to bump up shadows. How well the Sony sensor is at adjusting those highlights is what I wonder. I don't have the time, since photography is more a hobby, but I would be interested in demoing a D810's DR when it comes to saturation point.
Here's my processed image- I didn't have clipping in any of the bright areas:
The examples of DR I've seen from the Sony sensors aren't pushing into highlights. Instead, a similar image like this is exposed in a way that would indeed show a lot of noise in a Canon....here's my approximation of the scene's exposure that's recoverable in the Sony/ may not be acceptable for a Canon: