So what I saw was no shouldering, excellent linearity, no color shifts, and 11 stops of SBR. This well exceeds Johnson's 6-7 stops for color negative film.

Noise at low exposure levels appears as a base line or fog level for both film and digital capture. In a digital image, the presence of noise is often the limiting factor in in shadow detail because it becomes so visible well above the theoretical baseline. Film is much more forgiving in this respect.

I also see people comparing smaller format digital capture to 4 x 5 film. I agree with Tim, a lot of people seem to be comparing apples to tangerines.

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Many MF digital sensors have a true 16-bit sensor. Hasselblad/Imacon claims a 12 stop dynamic range for their CFV back. Having seen the results, I'm inclined to believe it.

When light waves encounter the dielectric layers, some are reflected and others are transmitted through each layer. The reflected beams interact with the beams reflected from adjacent layers, leading to interference. For the target wavelength range, the reflected waves combine destructively, effectively canceling each other out and resulting in attenuation of those specific frequencies. In contrast, wavelengths outside the target band are either not affected or they interfere constructively, thus being allowed to pass through the filter with minimal attenuation.

The iris in you eye constantly adjusts according to where you are looking, based on a very small area in the retina (the fovea). What kind of dynamic range to you see when the iris can't adjust (e.g., after leaving the eye doctor)? It appears that mother nature invented HDR Merge.

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That's where 16-bit files come in handy. There are enough bits for everybody, even at the dark end of the scale. Besides, ACR (and other programs) apply a film-like curve when deciphering RAW images.

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What a great thread! A lot of good information here. I have harped on several threads lately about this...that negative color film can capture a greater dynamic range than consumer level digital sensors. I based my observations on side by side comparisons of film and digital based images that others have offered to show here on photo.net over the years. I have also observed, where I used to work, prints from APS-sized sensors that fellow co-workers would share. Time and time again, a 35mm film-based image will capture a greater dynamic range than an APS-sized digital sensor. But, the resolution of good APS-sized sensors are impressive!

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Dynamic range should be based on the range that can be captured on film. This is enhanced considerably by toe and shoulder effects and low and high exposures respectively. This is not to be confused with the contrast range of the output (image on film or paper). Velvia, for example, has deep blacks to nearly transparent results, but a relatively shallow capture range. Negatives appear quite flat by comparison.

Modern DSLRs have a dynamic range of about 7 stops (D2x) to about 8 stops (Canon 1dsMkII), based on test results published on DPReview.com and my own experience (D2x). These sensors have a 12 bit range of capture, expressed in the RAW mode.

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A friend of mine believes that anyone that believes film is totally superior will still prefer the horse and buggy days. The only time I prefer film nowadays is for extended time night photography or a grain effect (usually black and white) but my opinion is changing.

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The detail is there, down to the wood grain in the bridge and tree bark in the shadow of the leaves. How much do you expect to see on a monitor from a downsized sRGB JPEG? The point is that the darkest areas are not blocking like they do with a small format sensor. It is easy enough to open up the shadows, but then it would be "flat" and "digital" to the uninformed. I can't please everybody (sometimes not anybody);-)

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One of the striking features of MF digital capture is the "roundness" of the image - great shadow detail, highlight retention and low, low noise. The actual resolution is comparable to a better small-format DSLR.

Glare, which presumably washes out completely, does nothing to add to the dynamic range. If part of the image is washed out, increasing the exposure does not produce an increase in "density" or pixel level.

Based on characteristic curves (*) published for various films, Fuji Velvia (reversal) has a useful dynamic range of 3-1/2 stops. Fuji Provia has a range of 5 stops. Representative negative films include Reala (8 stops) and NPS160 (10 stops). Tri-X has a range of 10 to 12 stops, depending on development.

Brian, with all due respect your first sentence is right but the rest is nonsense. Read Tim Biehn's post. I have been getting great range with Digital but some processing is required just as printing a negative normally requires manipulation.

I don't know where Johnson gets his numbers; my own experience is somewhat different than what he is reporting. I use 5x4 and a one degree spot meter. All that means to this discussion is that I can accurately measure the subject brightness range (SBR) in a scene. For example, this scene measured 11 stops of SBR:

Martin Evening proclaims in his book "Adobe Photoshop CS2 for Photographers" page 427 that in 1994 a 4 x 5 photographer Stephen Johnson determined using a Betterlight scanning back that digital has more resolution, sharpness and tonal qualities than film. I assume just like a negative he has to enhance the original capture to get a wide range. Is this what people are calling dynamic range?

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With digitial sensors, much depends on the size of the individual CCD sensor wells. The bigger wells translate into less noise and greater dynamic range. Phase One is claiming something on the order of 10 stops for the P45 MF digital back which has a very large sensor. Mike Collette of Better Light told me years ago that their sensor design let them capture 12 stops with their scanning backs (color, not infrared). This is possible because the backs make three separate exposures for each pixel as they scan -- the scan array is two dimensional at three pixels wide (an R, a G, and a B sensor) by however long. I don't doubt that their newest backs do even better.

I made a matching exposure with 5x4 Tri-X developed in XTOL 1:3 which is similarly linear. This was years ago, but IIRC the Dmax was around 1.6 which is very dense for me (I aim for a Zone VIII density of around 1.0 since I'm scanning).

An optical notch filter, also known as a band-stop or band-rejection filter, is a device that selectively blocks or attenuates a narrow range of wavelengths in an optical spectrum while transmitting all others. It is commonly used in applications such as laser systems, spectroscopy, and optical instruments where specific unwanted light needs to be eliminated.

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I made this photograph in June at about 2:00 in the afternoon. IOW, in the brightest conditions that occur where I live. The film is 5x4 160PortraVC which I drum scanned. I can verify that the film was linear for the full range of the exposure, with no color shifts (film has gotten better in the last 25 years ;-).

*The abscissa of the characteristic curves is logarithmic - divide the extrapolated range by log2 (0.301) to express the difference in f/stops.

What does it mean when a sensor can see so many stops of light, but the shadow end has no detail (because the highlights are hogging all the bits)?

Nice discussion, Bruce. And it is true that bigger sensors are better, just like film, although some refuse to believe it. For CMOS technology, the signal-to-noise ratio is linear with the size of the parasitic capacitance of the photodetector. And of course, dynamic range also increases with a larger capacitance because more charge can be stored. Bigger photodetectors...better SNR and higher dynamic range. Similar arguments also apply to CCD technology, and any other technology for that matter...big is good...that's why the Hassy digital backs and others like them are so impressive.

So... it depends. The better digital solutions with the bigger sensors and therefore bigger sensor wells can nearly equal negative film's ability to capture a wide SBR. The smaller sensors in DSLRs seem to fall somewhere between slide film and negative film. The very small sensors in digital point-'n-shoots seem to be closer to the slide film side of dynamic range.

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The operation of an optical notch filter is based on the interference of light. The filter consists of multiple layers of dielectric materials coated onto a glass or polymer substrate. Each layer has a different refractive index, and they are designed to create constructive and destructive interference for specific wavelengths of light.

The dynamic range has nothing to do with the amount of detail that can be captured, only the range of luminosity in the subject that produces a significant change in the output, ie. film density or image value. In digital as with film, you set the exposure level so that the areas in the scene you wish to capture lie within the available dynamic range.