Thanks, feel free elaborate on the tonality as I might learn from it.
These are RAW files processed with LightRoom 4-1, so I wonder if camera
settings are important? Or are there features influencing RAW?
My default workflow in LR is increasing clarity and vibrance, lightning up
the shadows (especially since many pictures were in harsh sunlight) and
then adding a little contrast. And setting the WB correctly.
One of the differences between LR3 and LR4 I found is that clarity and
vibrance seem to have a stronger effect in LR4. So I guess I might have
overdone it a few times ;-)
Best, Frank
2012/8/21 Joel Wilcox <jfwilcox@xxxxxxxxxxx>
> On Mon, Aug 20, 2012, at 03:32 PM, philippe.amard wrote:
> > Hi Frank, I like what you are showing us a lot, I'm wondering why :-)
>
> I had the same reaction. I certainly enjoyed the compositions. I
> wondered about the tonality, though I did not dislike it.
>
> > I was even surprised to see that the Oly metering system kept the shot
> > within acceptable limits - my Pana L1 didn't - regarding the
> > highlights - when the nikon sometimes went astray even though I had
> > set the "super specific nikon developed setting" to preserve shots
> > when the light differences exceed the sensor's tolerance ... Go
> > figure ...
> > Yet, as in your photos, the blacks seem slightly blocked on her E620
> > and hard to lighten up - a good comparison can be made on the water of
> > the canals, and the hulls I think. cf Your Burano 15, and my
> > http://gallery.leica-users.org/d/322950-1/Burano+Colours-0063.jpg
>
> I would like to know what the gradation settings were on both the 620
> and the EM-5. Whereas I turned gradation off in my E-3, it is a feature
> that seems to make the 620 really excel in capture range. One can
> always add contrast ... I do think it probably causes the camera to err
> on the side of holding highlights, pushing a trifle to the left.
>
> Joel W.
>
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