I am SO enjoying this. 
And you should borrow a d800 and reshoot that garden shed the same way and push the files the same way.
Why?
I mean, really.
But why should you try this with a D800 or other Exmor-equipped camera?.
Why not?
Call it a learning experience, pushing the/your envelope.
Want an application?
Shooting into the sun and being able to underexposure more to capture color gradients even closer to old Sol and still bringing up the rest of the scene to visible levels and retaining more color and tonal information without FPN.
Edit: here's an example of just that:
www.canonrumors.com/forum/index.php?topic=8105.msg161888#msg161888Significant PP work to re-tone the original image to get what I wanted from it, so that it matches my perception of how it looked, standing on that beach. No NR was used or needed. There are no pure black pixels. There are no pure white pixels. There is no FPN. (I did remove an ugly boat.) It looks good in print, 36" wide, could go double that easily. /edit
Or, underexposing more to capture textural information on objects with lots of specular highlites or highly reflective areas while also still retaining good liftable data on the rest of the scene.
I actually did such a shot last week with a D5100 as I was poking around a snowy rural landscape in bright sunshine and shot a subject that also contained very deep shadow information and I paid close attention to how it looked visually so I could recreate it later. Come to think of it, coal may actually have been involved!
It's not as good or extreme an example as a sunset, it's not even a great shot but I took it as an exercise to examine later.
That you can't imagine situations where this is useful surprises me and makes me wonder about your range of photographic experience. Some of us like to try extreme things for the sake of it, to discover where the limits are. For some of us, that edge is where the fun and learning happens.
I took something that would normally come out as solid black, turned it into a Zone IX textured highlight, and it's more than adequate for even significant enlargements.
if that's something that would normally come out as solid black I don't want you doing
my printing or prep work.
Perhaps you like an overly contrasty tone curve - some do. I certainly don't.
If you can do a bit of math, that means that the 5DIII has, effectively, at least twenty stops of usable dynamic range: ten from the normal highlights these would have been had it been properly exposed to the solid blacks of the standard rendering of this scene, and then another ten from the digital push of those blacks back to highlights.
uhmmmm...
The only relevant math is how much DR can be captured in ONE shot and it's qualified by how one defines the lower limit noise floor; whether that's an average RMS value of the noise, or a more useful Peak to peak level of noise (FPN) becoming visible at 100%. The latter is my more stringent standard.
As it stands, the 5d3 and the d800 are still limited to less DR than many daylite scenes can present.
When challenged with such a scene tho, I'll use a more capable D800, thank-you.
BTW, Thanks for supplying a 7 stop under-exposed 5d3 image on the previous page.
I'm slightly impressed that it recovers as well as it does when bringing it back those 7 stops without the banding being any worse.
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