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05-28-2017, 08:34 AM   #16
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QuoteOriginally posted by Stagnant Quote
I highly doubt, that highlight correction option affects RAW files. But, SilkyPix seems to recognize the fact, that this option was turned on and automatically applies certain amount of highlight compression, which can be adjusted manually in the Highlight Controller tab. As a matter of fact, SP is quite bad, when it comes to overexposed images.
I checked again. There was a difference in the RAW file with "highlight correction", but now I realise that the camera just exposed 20% shorter!

I use the RAW converter in CS6. It is OK and easy to use once you are familiar with it. I tried other RAW converters. In a case or two I managed to salvage an overexposed shot, but they were tricky to use.

It seems that the feature I asked about is not available. So I have not missed anything. Thank you all for interesting tips!

06-02-2017, 02:44 PM   #17
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Found "Highlight Correction" test at DP Review!

Hello again!

I just found a careful test of the "Highlight Correction" feature of the K3 - not the K3II - in DP Review.

Link: Pentax K-3 Review: Digital Photography Review

Highlight Correction "On" gives 1 EV step better highlight rendition and a less abrupt cutoff. Works in RAW. Probably does not work below ISO 200. There is a corresponding feature for shadows, but that works only in jpg.

For me this is a welcome feature. It does not make the camera expose for highlights, but improves the chances of getting usable sky detail at the first shot. Especially if I set the exposure compensation to minus 1 or more (will try out later). Also, it ought to give better rendition of haloes and rainbows, favourites of mine.
06-02-2017, 03:46 PM   #18
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QuoteOriginally posted by alamo5000 Quote
You won't make the camera do that. I don't know of any camera that is programmed as such.
Excellent points, alamo5000

The reason cameras don't have a good way to do this is that most scenes actually have too much dynamic range if you (or the meter) looks closely enough for highlight. Any sunlit scene in a city or around water will have some tiny specular reflection of the sun off something shiny that would cause the a highlight-biased meter to always use f/22 @ 1/8000 sec to avoid clipping those intense bits of reflected sun. Likewise such a metering system would often fail indoors by unintentionally metering off any lightbulbs that happened to be in the picture. The human brain is good at ignoring these highlights but it's hard to program a computer to know the photographer's intent because some highlights have to be blown.

The camera that came closest to having this was the Olympus OM-4 film camera. It had a dedicated "highlight" button in which you pointed the camera at anything in the scene that you wanted to be white in the final image, hit the "highlight" button, and it used the spot meter with a +2 EV offset to set the exposure. A similar "shadow" button let one set the exposure by metering off a very dark object. But these still required the photographer to pick what was supposed to be white or what was supposed to be black.

This "highlight" button functionality can be replicated on a Pentax DSLR using the spot meter, EV offset, and either the AE-L button in the automated modes or the green button in manual mode. But it still requires the photographer to "chase the light".
06-02-2017, 09:08 PM   #19
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QuoteOriginally posted by Mans Hagberg Quote
Hello!

I use a Pentax K 3 II and like it a lot!

But compared to earlier cameras (K 10, K 20, K 5) I have more problems to expose so that the sky is not burnt out. Exposure setting - 0,7 used to work well. But not so with the K 3 II, especially with wide-angle lenses. Center-weighted or full-frame metering does not seem to make much difference.

Of course I can point the camera more upwards and use AE lock. But perhaps there is a setting somewhere in the system I missed. Can the camera be set to avoid large burnt-out highlight areas?
It you are really interested I would look at getting some kind of software that allows you to see the raw data the cameras captures and how the cameras metering system exposed that scene.

When you know how the cameras metering system handles where the data starts to clip you can better place the DR of a scene with that of what the camera can capture.
I like using fast raw viewer , with this software you can see how much head room you have with the data you are collecting and how the cameras metering system works. Once you know at what point the cameras metering system clips data you can just remember where on the scale white clips and adjust your exposure accordingly. Once you know this you can use the spot meter and take a reading on the sky see how it falls on the metering scale and place where you want the white point to be

Most cameras have head room as to preserve some highlights and many times you can expose 1 -2 stops greater for a scene from where you think the raw file clips. The histogram on the back of the camera is of no real use to find out where this clippings starts to occur as it is based on the jpg rendered of that image and not what data is collected in the raw file.

06-16-2017, 02:03 AM   #20
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I would try a Cokin grey grad filter in front of the lens, maybe together with a polarizer if using standard or tele lenses. Always worked for me with slide film to darken/saturate skies
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