![]() The current mid-grey in RAW is 12.7% and below, with the emphasis on “below”. The proverbial 18% is more characteristic for the ISO settings below the base camera ISO. Moreover, it can even be different for the same camera, depending on settings and algorithms for Auto Exposure. ![]() In practice, the RAW value that corresponds to middle grey is different for different cameras, even if normalized to the maximum and calculated in percent. The existing ISO 12232:2006 standard talks about how the out-of-camera JPEG should behave, but doesn’t mention the RAW. This becomes possible for the simple reason that “ISO light sensitivity” for RAW data isn’t defined in any way. Adobe compensates for this (using hidden exposure compensation, BaselineExposure).The E-M1 camera, in the mode being used, (ISO 100 in EXIF) “overexposes” the shot (similar eccentricity to what Olympus E-M5 has at low ISO settings).In this case, the explanation is quite simple: This means that, of course, one should first look at the original, unprocessed data (in RawDigger, for example), and only having dealt with the differences there, right in the raw data, to move on to comparing the results of processing. or, if they WERE processed in different ways, understand exactly what the difference is and how to get to the lowest common denominator, if that’s the goal.īecause, you know, pushing the middle grey up and down for a nearly 1.5 stop total difference (as seen in the examples above), that’s a pretty big deal.either be sure that those two files were processed identically (and no, that doesn’t mean pushing the same buttons or moving the same sliders in a converter / converters).If we compare two cameras (or different settings for the same camera or even the same shot from the same camera but processed in different ways), and we’re doing this by looking at two files in a RAW converter, we need to: The original ORF file doesn’t have such a tag, but it is assumed in ACR. ![]()
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