Its all done in the camera processor - it takes 3 actual exposures, like auto-bracketing, then does its stuff on them. The result is a single JPEG, compressing a wider captured dynamic range into a lower visible range. The lower setting is usually quite natural and effective - the higher setting is veering towards the 'acid trip' look a bit, mainly because the shadows are pulled up excessively. This creates a washed out contrast, but it doesn't add the excessive micro-contrast and gravelly texture of the full 'acid trip' in Smeggy's term, which is usually created on a computer in specialised HDR software.

Its how you use it of course - I've had a couple of shots on here recently that were HDR, but until it was spelled out no one had realised.

Its not pointless, its good to talk about different lens characteristics ... And I do have a very good idea how my lens would record that scene. Probably would have to shoot 5 brackets

Its just a terminology, a way of talking about contrast within the darkest tonal range. There's no direct Photoshop equivalent ... Levels can't do it. Nearest would be curves but you'd need about 4 control points to get the same balanced result that the single slider in Sagelight would accomplish.

How does it relate to the lenses? Well the image here needs a dose of it whereas I can't think of any shot from the Samyang that would. They're rather different beasts though

'Low-Contrast' means the contrast range within the lower tones, say from about 1/4 up from the histogram left edge - so just the range of deep tones within that lower band, not affecting the mid or higher tones. Its a term used in the Sagelight Program, some of the panels have a dedicated slider for Low Tone Contrast.

I'm only comparing it to my own experience of wide-angle, which is limited to the Samyang 14mm. This lens features a quite extraordinary inherent contrast which makes metering quite a challenge - but it does provide superb deep low-contrast, different to what can be seen here.

Well that is very wide then! Perhaps we could even excuse the slight contrast loss then

How to make them pop? You can follow on from the traditional way and apply digital filters, which simulate the effects of the glass filters we used to use (eg yellow & red for increased contrast and strengthening blues and greens).

Pentax Digital Camera Utility takes a direct approach to this, and mimics the black & white filters menu on the DSLRs - or you could apply them on the camera to JPEGs directly. Best to work on the main exposure and contrast first, taking care over the high & low contrast sliders to stretch the range nicely, then select and try out the various B & W filter options. It can all be done almost the same way in PDCU.

I personally use a control panel in Sagelight 4.0 dedicated to B & W - it comes within the 'Effects - HDR' section, but you are given fine control sliders over all the key aspects, including 'smart contrast', 'Definition', a reduce noise option, and a blend percentage slider which acts like a layer opacity control in PS - this allows you to blend the amount of the effect you are applying over the base image for very subtle control.

There are various other dedicated tools and techniques in the more common Adobe programmes, which I am sure some users of those will be glad to explain.

Its not bad at all John really - I had a quick look at some images of the lens and it has the tinniest of petal hoods (I presume this is fixed?) - I wouldn't have thought it would make a huge difference, so clearly the optical design and coatings are doing a good job. My Samyang 14mm has a much deeper fixed hood and similar coatings I believe, and again very effective. Where this prime may win out though is in contrast,which has suffered a bit in your shot with some rather hazy shadows there.

By the way, is this shot at the widest 10mm end?

That might be a bit premature. Just imagine all the conflict when we get the wedding photos to choose!

Thanks Ken. I had a quick search for Sakura film and it appears to have been the forerunner to the Konica film brand. Would I be right in assuming the adverts you remember would have been for a slide film with punchy blues?

I specifically shot these blossoms from below to exclude distractions from the trees and to only have the sky as background, so I was fairly content to include a lot of the sky - but I accept the good advice, and Gareth said something similar, and I've cropped again and reduced the space at the top. What does everyone think of this new version, is this better?