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Blown highlights. Noise in the shadows. A density range only a
mother could love. Ah, the common pitfalls of digital photography.
Mostly that's because digicam exposures are usually happy to record
8-bit channels. They only have to yield a 24-bit image, after all --
eight bits each for red, green and blue data. Your printer can't
print more and your monitor can't display more either.
But to work with tonal and color correction in Photoshop, you want
more than eight bits per channel. That only gives you the final
256 possible output values, so when you compress them as you edit
you lose detail and when you expand them you get banding (or gaps between
tones).
But switch to 16-bit channels and those 256 tones blossom into 65,536 grays.
Take your pick.
Or try to take your pick. Most image editing software is severely taxed by
doubling the number of bytes needed to manage a 16-bit image.
Even Photoshop restricts operations for 16-bit images.
mother could love. Ah, the common pitfalls of digital photography.
Mostly that's because digicam exposures are usually happy to record
8-bit channels. They only have to yield a 24-bit image, after all --
eight bits each for red, green and blue data. Your printer can't
print more and your monitor can't display more either.
But to work with tonal and color correction in Photoshop, you want
more than eight bits per channel. That only gives you the final
256 possible output values, so when you compress them as you edit
you lose detail and when you expand them you get banding (or gaps between
tones).
But switch to 16-bit channels and those 256 tones blossom into 65,536 grays.
Take your pick.
Or try to take your pick. Most image editing software is severely taxed by
doubling the number of bytes needed to manage a 16-bit image.
Even Photoshop restricts operations for 16-bit images.
