If it was truly beyond where detail could be recovered, wouldn't it just be blown out white? What it sounds like you are describing is shooting multiple subjects at different levels of illuminace in a single shot. Like shooting indoors looking out through a window and exposing for the interior levels. I agree, it's a nice effect. How to graph it? I don't think this situation could be properly conveyed in a single conventional plot. Strictly from the perspective of luminance, it's just a long luminance range which can be graphed in a single diagram. But in order to communicate the effect Mark is describing in a graph, I believe there would have to be two sets of curves treating the different illuminance levels as separate subjects.
Originally Posted by markbarendt
The example below would be how it would look using a single set of curves. This is the maximum Luminance range my program can do and I think pushing everything into the toe of the paper curve has freaked out the tone reproduction reference line.
4 Quad - long Luminance Range.jpg
But what you have is one scene with a normal luminance range normally exposed and printed and another scene overexposed and printed for high key like in the next example.
4 Quad - High Key Example.jpg
As compared to a typical high key approach. The scene has a slightly shorter than normal luminance range. The main difference here is that it falls under 100% reflectance (the subject is shifted to the left in Quad 1). The exposure is placed higher on the curve. Development is reduced some, and the subject is printed in in the toe of the paper curve.
4 Quad - typical high Key.jpg
Last edited by Stephen Benskin; 04-19-2013 at 04:25 AM. Click to view previous post history.