The link in your post takes me to a "Not Found" page.
Peter, you're right. Thanks for correcting. Something went wrong with pasting the link.
Unfortunately, the article does not discuss allowing a range of ISO number to be entered.
When I shoot different events such as ballet performance the lighting changes drastically during the performance from very bright to almost completely dark. I always shoot RAW images and shoot in manual, and adjust the ISO setting as the light intensity changes.
Seeing while I am shooting ballet performances I am clicking the shutter on the average of about 1 shot every 5 seconds. I just take a wild guess at what the ISO should be and change the camera ISO setting on the fly. I end up with images taken at many different ISO settings.
I was hoping that I could put a range of ISO setting such as 2000 - 3500, 3500 - 5000, etc., and have the image automatically processed based on which range the ISO settings fall into. I though I may be missing a hidden keyboard combination I could hit to put in a range rather than a single ISO setting. Apparently this is not the case.
To my knowledge, there is no way to specify a range of ISO. You'll have to create the settings for every ISO value instead.
If somebody knows a way .. I'm happy to learn this as well.
I just tried to request this as a new feature for Lightroom, but even though I signed in to the Adobe page, it will not accept my request. It just keep saying it is waiting for me to sign in. I have tried this another times with the same results.
It seems like this would be a very simple modification to Lightroom.
Thanks for the tip on smart collections. I didn't realize you can make ISO specific collections particularly with ranges of ISO settings.
While this is not as time saving as having the presets added as the images are imported, it will certainly save time over having to add them to each image separately.
I'm relatively new to Digital Post. In my perception, LR is all about collections, smart or not and virtual copies.
You should be able to apply a correction template to a collection in one go.
As to ISO-specific corrections, I suggest you figure out the way your camera's sensor and firmware work to create the RAW files. My camera has almost 8 F-stops of dynamic range, and the dynamic range between the clipping points is about 6 stops. If I keep my photos/exposures within that range, I have no dynamic compression anywhere in the photos. (But in printing still have to compress down to 4 stops dynamic range.) These ranges are at the sensor's native sensitivity of 200 ISO. Between upper clipping point and upper limit of dynamic range, the sensor behaves non-linearly. Here is some potential for recovery f highlight details. The same applies to the bottom end headroom.
I speculate that shifting up ISO, we become more dependent on that non-linear range of sensor/firmware (still, the firmware generates linear 14-bits per channel files in my camera's case).
Or, it makes sense at the rate you shoot photos at changing ISO settings to figure this out for your camera in one way or another. So as to smartly set the values defining the ISO ranges.
That said, you'll have to figure out a way yourself to do these tests. Maybe some gray scales.
That is, if the pragmatic human eye approach does not give satisfying results.
I use a light-meter that comes with calibration software, gray scale and procedure - from using that, I have the information I mentioned.
Someone on-line posted a graph of the noise vs. ISO settings for the 5D Mark III.
I have decided what I am going to do is to make myself a bunch of different profiles for all the ISO values I normally use based on the noise figures from this graph.
While the information in this graph may not be exactly the same for my 5D Mark III, I am sure it is more accurate than I could get by doing tests with my camera.
This way, all my images are corrected for noise as they are being imported into my computer.
Nice if s.b. already did that.
For completeness sake ... Noise is one thing, dynamic range another.
You may still want to look at that.
Also, the camera's ability to pull out color may change with ISO setting - a couple shots with Color Checker Passport maybe?
It would be nice if everything remained the same with increasing ISO but especially skin tones may change.
BTW. One shot every 5 seconds of a ballet performance - do you do that in life performances with audience?
Or does the troupe let you do that whilst (dress) rehearsing?
Yes, I am shooting the live performances with an audience. They have two assigned seats in the middle of the back row of a 250 seat theater where I stand to take the photos.
The reason I am shooting so many shots is that I am trying to capture three different things with my photography. First, I am trying to tell a story with the images. Second, I am trying to make sure I include every dancer in the shots so the parents will have photos of their children dancing. Third, I am trying to get close-up shots of some great ballet jump shots.
During the ballet performance the lighting changes drastically in both intensity and in color. They have some scenes which are very dark and are lighted with only blue light. A number of the scenes have a lot of red light in them. After the shoot, I color corrected some of the images so the skin color was correct, and the director of the ballet hated them. He wants the photos to look exactly as they were lighted.
Rather off-topic from the OP ...
I understand the director.
Before the real shoot, I would try to enter white balance in the camera based on pure stage light at 100% brightness, maybe with the help of the lighting person. It will be somewhere between 2500 and 3200K, I guess, but a Color Checker Passport shot will help here (include gray side) and then assume this to be the color temperature of all shots.
(Or, no "Auto White Balance" here.)
Assuming old-fashioned conventional stage lightbulbs here.
You have a challenge in this, when the light is dimmed (for theatrical effect) and consequently the color temperature drops significantly. I suggest to consult with the director to make test shots at different settings so as to figure out if the "warming" from lower light levels should be visible in the photograph or not. In darkness, the color sensitivity of the human eye shifts to yellow (cf. Purkinje) so we would be less aware of light warming when dimmed.
And, this is one thing you can relate to the ISO specific profile.
Imaginary debate: parents asking "why is my child's face red?" That was the theatrical lighting at that moment of that shot. But can't you do something about it?
Why not render the same picture in black and white? The theatrical lighting may actually give you very nice images.
Because I shoot everything in manual, I have my white balance set to tungsten. The color of the skin in my photos which were lighted with the bare tungsten lights look great.
I am really a studio shooter who is stepping out of my comfort zone to shoot something more challenging. Being a studio shooter I always use my Color Checker Passport. However, I decided not to use it for the theater shots because the images look good, and with all the different colored light photos they would be hard pressed to see any difference in the bare tungsten lighted photos.
I fully understand what you are saying about the parents comments. I have this covered in a statement on the web page the parents will go to to purchase prints. I explain that I will do further post processing on the images they purchase such as crop, color, etc.
I had not considered converting the images to black and white. I am personally not a big fan of black and white, but it may will be worth taking a look at. When I first got involved in photography, it will all black and white. I still remember developing images from my Brownie camera under the closed-in stairway of my parents home when I was a kid.