The next stop of light takes up the next 1024 values, and the third stop is recorded with the next 512, taking half of the remaining values each time.
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Which, with most typical tone curves, ends up translating to a series of near-indistinguishably bright tones in the final image. Why does this matter? Because it means that half the values in your Raw file (the values between 20 in a 12-bit Raw file) are devoted to the brightest stop of light you captured. Note how the brightest stop of light takes up 1/2 of the available values of your Raw file. This diagram shows how the linear response of a digital sensor maps to the number of EV you can potentially capture. This is part of the way we’re able to cope with the high dynamic ranges in the scenes we encounter.ĭigital sensors are different in this respect: double the light and you’ll get double the number of electrons released by the sensor, which results in double the value generated by the analogue-to-digital conversion process. Similarly, we’re much better as distinguishing between subtle differences in midtones than we are vast differences in bright ones. The human visual system (which includes the brain’s processing of the signals it gets from the eyes), interprets light in a non-linear manner: double the brightness of a light source by, say, turning on a second, identical light, and the perceptual difference isn’t that things have got twice as bright. Half the values in your Raw file are devoted to the brightest stop of light you captured