Casey Liss

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.

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.

So, like I said, my cameras are set to Adobe RGB, and I'm shooting in JPEG and RAW to two separate cards. But I mostly just deal with the JPEGs. And the idea behind this, what Leo was talking about, is like number of bits per sample. How many bits do you take per sample in this thing? Obviously, if you have 8 bits, you can only have values from 0 to 55.

So, like I said, my cameras are set to Adobe RGB, and I'm shooting in JPEG and RAW to two separate cards. But I mostly just deal with the JPEGs. And the idea behind this, what Leo was talking about, is like number of bits per sample. How many bits do you take per sample in this thing? Obviously, if you have 8 bits, you can only have values from 0 to 55.

If you have 12 or 14 bits, you can get many more values, right? So if you're taking a picture of something like a sky gradient or whatever,

If you have 12 or 14 bits, you can get many more values, right? So if you're taking a picture of something like a sky gradient or whatever,

uh within a you know one inch strip of the thing or whatever or within some strip of the sky you might have uh in the thing off the sensor you might have five different colors blue slightly darker blue slightly darker blue like five different blues right that's in a 12-bit space because you've got a room you've got a room for however many values 12 bits is like it's you know thousands and thousands of different colors you can fit in there right but when you write it to a jpeg they have to take all those thousands of different colors and compress them down to fit in eight bits and that's only 256

uh within a you know one inch strip of the thing or whatever or within some strip of the sky you might have uh in the thing off the sensor you might have five different colors blue slightly darker blue slightly darker blue like five different blues right that's in a 12-bit space because you've got a room you've got a room for however many values 12 bits is like it's you know thousands and thousands of different colors you can fit in there right but when you write it to a jpeg they have to take all those thousands of different colors and compress them down to fit in eight bits and that's only 256

you know, levels for the R, the G, and the B, right? And in an 8-bit thing, those five different blues might map down to a single blue. So what was previously a strip that had five different colors, like a smooth gradient, that same strip now has one color because you can compress it down to 8-bit.

you know, levels for the R, the G, and the B, right? And in an 8-bit thing, those five different blues might map down to a single blue. So what was previously a strip that had five different colors, like a smooth gradient, that same strip now has one color because you can compress it down to 8-bit.