[Leica] DxO, the M8 and dynamic range

[dstella1 at ameritech.net (Dante Stella)]

The DxOMark site is interesting, primarily the DR comparisons.  Run a  
comparison on the M8 against any modern DSLR (Nikon or Canon) and  
puzzle about the arguments/assertions that the dynamic range of a  
Leica is "better."  A better word would be "average."  Compared to  
cameras equipped with Kodak's 24x36 sensors, Fuji's Super CCDs, and  
Nikon's post-D2x sensors, it's actually a bit behind the curve.  I'm  
sure that despite objective comparisons like DxO's, we're still going  
to hear claims that the M8 is notable for its "dynamic range" (c.f.  
here, the Leica Camera forum, and RangefinderForum.com).  Or does  
someone want to poke holes in DxO's methodology?

After two years of working on M8 DNG files, I can say that the DR and  
distribution of information in DNG files are my biggest issues with  
the M8.  It's not the spatial resolution or the sensor size.  It's not  
even the rickety 50-year old rangefinder, a different effective back  
focus, or an annoying bottom-plate load.

Many of us like shooting pictures that have tonality in the  
highlights.  On film, we'd use TMY, shoot normally, and err on the  
short side of development.  No problem.  But on an M8, we have to  
underexpose.  This pushes the moderately low tones down into the  
noisier nether regions - and some of the time, we end up needlessly  
sacrificing the camera's DR in the process just so we can be sure we  
don't blow it on the high end of the scale.

On the next Leica digital, we need more bits, and we need them in the  
highlights.  That way, we can shoot for the shadows and simply reign  
in any unruly highlights.  And by reign in, I mean with both color and  
tonality.  When you recover highlights on an M8 as currently  
configured, you get color (if you're lucky), but the tonality is flat  
- like film that shouldered off.  Not good for things like clouds and  
snow-capped mountains.  Or human faces with hot spots.

I'm still puzzled about why Leica decided to so much information to  
shadows.  Pictures taken in bright light generally don't have a lot of  
shadow interest.  Low-light situations are either "all shadows," in  
which case they can be shot normally (since they have very constrained  
dynamic ranges) - or they are mostly shadows with bright highlights -  
in which case you need more highlight recovery.  So what was the  
imagined situation that prompted the composition of Leica DNG files?

Dante

____________
Dante Stella
http://www.dantestella.com