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Dynamic Range
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Dynamic Range of a Sensor
The dynamic range of a sensor is defined by
the largest possible signal divided by the smallest possible signal
it can generate. The largest possible signal is directly
proportional to the full well capacity of the pixel. The
lowest signal is the noise level when the sensor is not exposed to
any light, also called the "noise
floor".
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Practically, cameras with a large dynamic range are able to capture
shadow detail and highlight detail at the same time. Dynamic
range should not be confused with tonal range.
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Dynamic Range of an Image
When shooting
in JPEG, the rather contrasty tonal curves applied by the camera
may clip shadow and highlight detail which was present in the
RAW data. RAW images preserve the
dynamic range of the sensor and allow you to compress the dynamic range
and tonal range by applying a proper tonal curve so that the whole
dynamic range is represented on a monitor or print in a way that is
pleasing to the eye. This is similar to the more extreme example in the
tonal range topic
which shows how the larger dynamic range and tonal range of a 32 bit
floating point image were compressed.
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Pixel Size and Dynamic Range We learned earlier that a
digital camera sensor has
millions of pixels collecting
photons during the exposure of the
sensor. You could compare this process to millions of tiny buckets
collecting rain water. The brighter the captured area, the more photons
are collected. After the exposure, the level of each bucket is assigned
a discrete value as is explained in the analog to digital conversion
topic. Empty and full buckets are assigned values of "0" and "255"
respectively, and represent pure black and pure white, as perceived by
the sensor. The conceptual sensor below has only 16 pixels. Those pixels
which capture the bright parts of the scene get filled up very quickly.
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Once they are full, they overflow (this can also cause
blooming). What
flows over gets lost, as indicated in red, and the values of these
buckets all become 255, while they actually should have been different.
In other words, detail is lost. This causes "clipped
highlights" as explained in the histogram
section. On the other hand, if you reduce the exposure time to prevent
further highlight clipping, as we did in the above example, then many of
the pixels which correspond to the darker areas of the scene may not
have had enough time to capture any photons and might still have value
zero (hence the term "clipped shadows" as all
the values are zero, while in reality there might be minor differences).
It is easy to understand that one of the reasons digital SLRs have a
larger dynamic range is that their pixels are larger.
Larger pixels do not "fill up" so quickly, so there is more time to
capture the dark pixels before the bright ones start to overflow.
Some Dynamic Range Examples
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The dynamic range of the camera
was able to capture the dynamic range of the scene. The
histogram
indicates that both shadow and highlight detail is
captured.
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Here the dynamic range of the
camera was smaller than the dynamic range of the scene.
The histogram indicates that some shadow and highlight
detail is lost.
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The limited dynamic range of this
camera was used to capture highlight detail at the
expense of shadow detail. The short exposure needed to
prevent the highlight buckets from overflowing gave some
of the shadow buckets insufficient time to capture any
photons.
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The limited dynamic range of this
camera was used to capture shadow detail at the expense
of highlight detail. The long exposure needed by the
shadow buckets to collect sufficient photons resulted in
overflowing of some of the highlight buckets.
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Here the dynamic range of the
scene is smaller than the dynamic range of the camera,
typical when shooting images from an airplane. The
histogram can be stretched to cover the whole tonal
range with a more contrasty image as a result, but
posterization
can occur.
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