Something's not right -- this thread is being edited!

I wanted to reply to imagextrordinair by quoting an earlier response back near the start of the thread but couldn't find it. It was from selmslie. I was however able to find a post from User ID that quoted the post by selmslie. https://www.uglyhedgehog.com/t-802457-4.html#14517933

Here's the content (from quote) of the post that was removed.



What's going on? Why would selmslie's post have been removed and who removed it?

For sports action, wildlife and BIFs you can't beat Swiss quality in mirrorless digital cameras.

But remember it's not the tools that matter it's the skilled photographer who can work around and overcome any limitations.

(Download)

Focus peaking in a modern high resolution EVF is in no way useless.

Not in the optical viewfinder, right? You have to lockup the mirror, put the camera in live-view and use the LCD that you can't see.

Yes.

Spend lots more money on a longer lens.

An Apple Pro raw file is an Adobe compatible Linear DNG.

From the Wikipedia article you referenced: "DNG is both a raw image format and a format that supports "non-raw", or partly processed, images.[2] The latter (non-raw) format is known as 'Linear DNG'."

A Linear DNG contains no raw data.

Here's some more info: https://dprevived.com/t/full-field-mtf-of-the-48mp-camera-of-iphone-14-pro/2043/

"In the Pi V3, the four pixels of the same color in each Quad are not binned directly in some modes: they are read at different times, like in exposure bracketing. Stacking is performed on-sensor, producing a single HDR pixel out of the four. This is the way that a Pi engineer put it for the V3.

The V3 gains about 2 bits of dynamic range this way, so if we generously assume that the Pro 14's sensor produces 12 real bits out of the ADC, we could get 14 bits at 12MP out of the sensor after tone mapping. Normalizing this to 16 bits provides additional precision in order to perform the other operations discussed earlier to produce the RGB DNG file (wb, demosaicing etc.)."

I bolded two critical sections of the above quote from the article. Pro raw is a linear DNG that contains no raw data. The ADC in the camera is 12 bit.

It's a 16 bit lossy compressed RGB image in a DNG wrapper. There's nothing raw about it.

https://kirkville.com/apples-new-proraw-photo-format-is-neither-pro-nor-raw/

RawDigger will open a DNG including a linear DNG which does not contain raw data. Apple Pro raw is not raw.

https://kirkville.com/apples-new-proraw-photo-format-is-neither-pro-nor-raw/
https://discussions.apple.com/thread/254714624?sortBy=best

If the DNG you looked at was an Apple Pro raw file then it wasn't a raw file. Apple Pro raw isn't raw. It's a processed and demosaiced linear DNG.

Film development is how you make the Zone System work. You expand or contract the contrast in your negatives via the film development time to better match the lighting contrast in the scene. A Zone System photographer marks their film to be developed with N for normal development and then N+ or N++ and/or N- or N-- to indicate the required development manipulation to adjust the film's response curve. That's what makes the Zone System work.

It's easy to process roll film at home. You need a daylight tank and reels, some measuring beakers a dark place to load the tank, a sink, thermometer and the chemistry.

Yep, in this business that's a given. And if you start thinking about the R3 guess what will happen.....

I made the switch to C1 about 10 years ago. I prefer it's editing abilities. LR bogs down too quickly when you start using the adjustment brush.