Casey Liss

Not quite. But yeah. So we should read this feedback from Sam Doran, who I think summed it up pretty well.

Pause for a second and say what the histogram is. Most fancy cameras have a thing where they'll show you a histogram. Histogram is just a graph that shows, like, how many values at level one, how many values at level two, how many values at level three. And it makes, like, a little mountainous little graph. That's your histogram, right? And what they're showing in this histogram on cameras is...

Pause for a second and say what the histogram is. Most fancy cameras have a thing where they'll show you a histogram. Histogram is just a graph that shows, like, how many values at level one, how many values at level two, how many values at level three. And it makes, like, a little mountainous little graph. That's your histogram, right? And what they're showing in this histogram on cameras is...

different brightness levels, with the left side of the histogram being black and the right side being white, and all the values that are in between in terms of brightness, if you're looking at like a luminance histogram, right?

different brightness levels, with the left side of the histogram being black and the right side being white, and all the values that are in between in terms of brightness, if you're looking at like a luminance histogram, right?

And when I say moving the histogram to the right, it's saying the shape of the little mountain range made by the histogram, you're trying to make the big peak, the big lumpy mountain, be more to the right of the image. The right is bright, the left is dark, right? So it's always going to be some kind of like lumpy type of thing or whatever, but...

And when I say moving the histogram to the right, it's saying the shape of the little mountain range made by the histogram, you're trying to make the big peak, the big lumpy mountain, be more to the right of the image. The right is bright, the left is dark, right? So it's always going to be some kind of like lumpy type of thing or whatever, but...

If there's one big lump or mound of where most of the luminance data is in the image, exposed to the right is saying, move that lump to the right. Don't leave a bunch of space to the right on the histogram of, like, level 10, 11, 12. These are made-up values. 13, 14, like, oh, those just have very low values on them. The hump is in the middle. You don't want the hump in the middle.

If there's one big lump or mound of where most of the luminance data is in the image, exposed to the right is saying, move that lump to the right. Don't leave a bunch of space to the right on the histogram of, like, level 10, 11, 12. These are made-up values. 13, 14, like, oh, those just have very low values on them. The hump is in the middle. You don't want the hump in the middle.

You want to shift the hump to the right because—continue, Casey—

You want to shift the hump to the right because—continue, Casey—

And Sam had some more information on this that I wasn't able to pin down to the point where I wanted to put it in the show word for word. But the idea is that when you're exposing to the right, the more brightness you can get, the more data there is available to you. You don't want to waste part of it.

And Sam had some more information on this that I wasn't able to pin down to the point where I wanted to put it in the show word for word. But the idea is that when you're exposing to the right, the more brightness you can get, the more data there is available to you. You don't want to waste part of it.

The way I would describe it is your camera, whatever your settings are, captures a certain range of luminance values, a certain range of light, right? If you put the big lump in the middle when you're shooting raw, you're kind of wasting the stuff to the right because you're not capturing any data there. With raw, you can shove that lump over

The way I would describe it is your camera, whatever your settings are, captures a certain range of luminance values, a certain range of light, right? If you put the big lump in the middle when you're shooting raw, you're kind of wasting the stuff to the right because you're not capturing any data there. With raw, you can shove that lump over

Not off the edge, because off the edge is what Mark was talking about. Oh, now you've blown out your highlights. Now things that are pure white. But shove the lump over to the right to allow you to use the rest of the range to get more values in the darkness. And that's the exposing to the right. The right is that lump in the histogram.

Not off the edge, because off the edge is what Mark was talking about. Oh, now you've blown out your highlights. Now things that are pure white. But shove the lump over to the right to allow you to use the rest of the range to get more values in the darkness. And that's the exposing to the right. The right is that lump in the histogram.

That's what I was asking Marco last time. What color space is he using? Not realizing that it doesn't matter when you're talking about raw because color space only comes into effect when you take that raw sensor data and you say, okay, now I'm going to stick this into something like a JPEG or an image or whatever.

That's what I was asking Marco last time. What color space is he using? Not realizing that it doesn't matter when you're talking about raw because color space only comes into effect when you take that raw sensor data and you say, okay, now I'm going to stick this into something like a JPEG or an image or whatever.

We choose the color space because the raw is really just the values from the sensor and more or less it's raw form after whatever it's called debayering or whatever that thing is where they process the sensors into a bunch of RGB values.