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Subject: Re: raw 3.1 professional custom profiles for highend digital cameras



"16 bits would be a little more forgiving than 12" is a bit of an understatement since 16 bits gives 65536 levels compared to the 4096 levels in 12 bit--it would take exposing to the right to new heights."

Ah, but of course, Photoshop doesn't really HAVE a real 16 bit space, it's 15 bit +1 for a total of 32,769 levels but still a lot more than 4,096.

"Linear recording wastes many bits in the highlights by recording more gradations that our eyes can differentiate and not enough in the shadow areas where our eyes can detect small realative differences in intensity. A log scale is more efficient."

Wastes? Well, if the user doesn't do anything with the additional date, yes, it's wasted. But if you tone map it correctly then those higher density of levels at the higher range become useful. A log scale is what you end up with _AFTER_ conversion and tone mapping. But there's nothing one can do to CHANGE the nature of sensors-they are linear, so you have to adapt the way you capture and process to bring out the tonality you want/need.

"In the Nikon forums there are a lot of tone curves which attempt to simulate the appearance of Reala, Provia, and Velvia. Apparently some people like the film look."

A lot of people like junk food too, that doesn't make it any healthier for them. . .at the end of the day, one needs to be able to go out to a print, with a vastly reduced contrast range than the original scene. It's HOW you get from capture to print that "highlights" just how different digital capture is from film.

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