![]() ![]() You can preview this affect by using soft proofing in the Develop module in Lightroom 4. However, if you have richly saturated colors in your photos, because you are going to the smaller sRGB color space, you may in fact lose saturation. Hi Rebecca, assuming your images are raw files, you are automatically editing in 16 bit ProPhoto in Lightroom (you have no choice.) When you make those final 8 bit sRGB jpeg copies for your clients, the fact that you are going down to 8 bit is fine, and won’t produce a visible change in quality (you had all the extra 16 bit data for your editing phase, which is what matters). Lightroom smooths out the histogram, so you won’t see these gaps - nevertheless, the quality issue issues still exist. Note: I have printed these histograms from Photoshop. But large memory cards and hard drives are so much cheaper these days than they used to be. The downside to higher bit-depth is larger image files - all else equal, a 16 bit image file is twice as big as an 8 bit image file. Your high-bit-depth photo with billions of potential colors will hold up much better. 16 million may seem like enough, but again, with heavy editing, you can see color banding or blotchiness in your photo. Higher bit depth files also potentially have a much larger number of colors: an 8-bit jpeg can represent around 16 million colors, whereas a high bit-depth file can represent over 28 billion. In ACR, click on the workflow options at the bottom of the screen and do the same. In Lightroom, go to Edit or Lightroom>Preferences>External Editing, and set your PSD or TIFF preference to 16 bit. When you move a file from Lightroom or ACR to Photoshop, you need to ensure that the Photoshop file stays in 16 bit. ![]() While you are working in Lightroom or Camera Raw, your work on your raw file is in 16 bit (standardized to accomodate 12, 14 and 16). It does no good to convert a raw file into 8 bit as you move into Photoshop to work it. a raw file, and you have to enhance it as a high-bit depth file. To have this additional “editing headroom”, you have to capture a high bit-depth image, i.e. Histogram from 12 Bit Version with Darkening and Contrast Boost Imagine if your camera used a bit-depth of one: you would have one digit to store how dark each piece of the scene was, the only possible values would be 0 and 1, and the only two tones that could be represented are black and white: Bit depth refers to how many digits the tonal information for each pixel is stored in. Computer files store information in zeros and ones. Whether 12, 14 or 16, these higher bit-depth files potentially contain much more information than 8 bit files.įor each pixel in your image, the tonal value or brightness of the scene you are photographing is stored in the image file on your memory card, along with the color. But how do they contain more information? Among other things, digital photography raw files are captured at a higher bit depth - depending on the camera, 12, 14 or 16 bit, compared to 8 bit for jpegs. You may be photographing in raw rather than jpeg because you know that raw files contain more information and because they are unprocessed, giving you more flexibility.
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