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The brightness range a scene contains, from darkest to brightest. Measured in stops.
Imagine slicing a scene from black to white into 11 zones.
0 1 2 3 4 5 6 7 8 9 10
██ ██ ██ █▓ ▓▓ ▓░ ░░ ░░ ▓░ ██ ██
black ─────── middle (18% gray) ─────── white
Wide dynamic range = many zones between 0 and 10 captured without losing detail.
The human eye spans about 20 stops, full-frame sensors 12–15 stops, JPEG output 6–8 stops. That gap is why what your eye saw often feels diminished in the photo.
The classic "subject is silhouetted against a bright sky":
→ To save both, JPEG won't recover it, but RAW gives you about ±2–3 stops of recovery latitude. That's the strength of RAW.
| Slider | Region of effect | When to reach for it |
|---|---|---|
| Blacks | The darkest end-point | Depth of black, faded looks |
| Shadows | The dark band as a whole | Lifting a face that fell into shadow |
| Exposure | Whole image around the midtones | Image generally dark or generally bright |
| Highlights | The bright band as a whole | Saving sky, taming face hot-spots |
| Whites | The brightest end-point | White intensity, pushing right up to clipping |
┌────────────────────────────────────────────────────┐
│ Blacks │ Shadows │ Exposure │ Highlights │ Whites │
│ 0–1 │ 1–3 │ 3–7 │ 7–9 │ 9–10 │
└────────────────────────────────────────────────────┘
darkest ─────────────────────────────── brightest
Key distinctions:
You said you start with darks → shadows. A more general progression:
Going out of order means each slider undoes a bit of the previous one — twice the work.
When DR exceeds what a single image can hold, RAW preserves the full 12–14 stops the sensor recorded for you to pull from in post. JPEG is already compressed to about 8 stops — once it's gone, it's gone. See raw-vs-jpeg.
Log profiles in video (S-Log3, V-Log, C-Log, etc.) play the same role RAW plays for stills. They record a flat, gray-looking signal so color can be applied later. Only meaningful when paired with sufficient bit depth (10-bit or higher).