Hasselblad vs RED Epic for stills.

[Christopher Barrett]

I mean that the hilight information is clipped. This doesn't mean that the image is overexposed. It simply means that the contrast range within the composition exceeds the dynamic range of the sensor. You could expose to avoid hilight clipping, but then the image would actually be UNDERexposed and less acceptable esthetically as a whole.

For my stills workflow, I typically expose for the most pleasing overall image, having lit to maintain shadow detail and bracket for the hilights, which I layer in later. The end results.... well, check them out for yourself if you like.

[Les Dittert]

Ok, if you avoid clipping with exposure, then why can't you brighten the rest of the image to suit your needs?
If you post a non clipped raw, I can show you the result to match the epic.
Curves tool is a great start to color it.

[Christopher Barrett]

I'd love to see that, Les.

Here is a recent image out of my still camera that's been through my typical post workflow...



and here is an image from my bracket that just begins to hold on to the hilights...



Really think you can get there with a curve?

[Les Dittert]

I sure do, if the raw is low ISO clean and has 14 bits color depth.

Now, if your workflow is founded on HDR tone mapping, then the blacks will get dirty.
But the original conversation is about non bracketed HDR epic vs other.

[Adrian T.]

Hasselblad just lowered their prices:
http://www.hasselbladusa.com/promoti...reduction.aspx

Are they getting cold feet?

[KETCH ROSSi]

Hasselblad just lowered their prices:
http://www.hasselbladusa.com/promoti...reduction.aspx

Are they getting cold feet?

Its called facing stiff competitions, including LEICA S2, which has so much less MP count yet has taken a nice chunk of sales form every MF manufacturer do to the insane capacity to render Skin tones and the Outwardly Fantastic S series Glass, simply the best Still glass ever created by any manufacturer to date, Leica it self included.

Of course Phase One aggressive market, and even more aggressive one of Mamiya/Leaf and their new 80MP CREDO MF Sensor is leaving Hassy behind...

But the truth is that Hasselblad, even so their sale and acquisition by a new financier, have been going down ever since their decision to go solo with their new HD systems catting off any other MF DB from been used in their Bodies.

Their new lenses also suffered greatly form the departure from ZEISS.


Fact remains that even so the huge discount MF bodies still are a good chunk of MONEY, at the same price I still prefer Have an EPUIC, thanks... ;)

[Josh Beadle]

I'd love to see that, Les.

Here is a recent image out of my still camera that's been through my typical post workflow...



and here is an image from my bracket that just begins to hold on to the hilights...



Really think you can get there with a curve?

Absolutely with Lightroom 4. Adobe has reinvented many still cameras with their recent LR update. On my Phase I expose for the highlights then dig out shadow detail in post. I have amazing results since the 80MP crushes what little noise is down there. Would love for RCX to have the same RAW tool set as LR.

[Justin Poulsen]

I'd love to see that, Les.

Here is a recent image out of my still camera that's been through my typical post workflow...



and here is an image from my bracket that just begins to hold on to the hilights...



Really think you can get there with a curve?

I'm going to have to side with Chris on this one. Curves won't save poor lighting. Curves won't save the proper mapping of your exposure. With my experience with Phase One (albeit the smaller P25+) you can push a lot of data out of the left side of the histogram, but there is often a slight colour shift or noise depending on how long the back has been on/how long the exposures are. and good luck trying to handle most situations in one shot with a single curve. The best way to remedy this is to shoot a proper exposure and then compensate for shadows/highlights with lighting/additional exposures.

[Les Dittert]

Still waiting for the raw image to start from....

Goal: show how correct exposure and color correction can get you there, given enough bits and noise controlled low iso starting point.( epic vs other , one exposure )

[Josh Beadle]

Chris's work speaks for itself. He is at the top of his field and has the respect of anyone who knows how difficult it is to accomplish the simple beauty of his vast portfolio.

Chris, have you tried LR4 for raw conversion yet? I just got back for a week long fine art printing seminar in Yosemite where I had the pleasure sitting next to Eric Chan who, with Thomas Knoll, is the brains behind the Camera RAW component at Adobe. LR4 is freaking amazing!! I have been able to go back to some of my maximum DR shots and find detail in the deepest of shadows. I believe your underexposed shot above would be a cinch for LR4. Try it . . . you'll like it!