Re: 16 bits = 15 bits in Photoshop?
Re: 16 bits = 15 bits in Photoshop?
- Subject: Re: 16 bits = 15 bits in Photoshop?
- From: email@hidden
- Date: Sat, 16 Apr 2005 13:28:12 EDT
Michael Shaffer writes,
>> I don't know that I would specifically agree with you, but you don't
address the problem of having accepted your premise, and believing I can
make tonal adjustments in 8bit space, that I begin there and find out after
I didn't anticipate problems with subtle gradients and memory colors such as
skin tones. If I then realize for a specific example I should have begun in
16bit (15bit) space, I cannot go backwards ... i.e., it would have been the
best idea to begin with 15bits regardless of 8bits having been as good.>>
If you are inserting your own computer-generated gradient then 16-bit can be
helpful. If you are speaking of an existing photographic gradient, this has
been tested fairly extensively and nobody has been able to demonstrate any
advantage to manipulating it in 16-bit. As to realizing that you should have
started in 16-bit, again, no one has ever been able to demonstrate (unless you have,
which I take it you have not) that there's any advantage to doing so with a
natural color photograph under any real-world circumstances, regardless of how
severe the later edits are.
>>Personally, I believe beginning with high-bit space is simply good
practice, and with todays CPU power who is going to suffer any penalties?>>
A reasonable position. If I may rephrase: "Logic tells me that editing in
16-bit may give better results under certain circumstances. I understand that all
the testing indicates that it doesn't. However, nobody suggests that it
hurts, and nobody has really offered a convincing explanation of why something that
seems so logical in principle doesn't seem to work in practice. Therefore,
since I have the disk space to spare, I prefer to stay on the safe side by
sticking with 16-bit as long as I can, although I can't demonstrate that it helps
me."
Fair enough. A lot of sensible people adhere to that position. I have no
problem with it.
Contrast that, however, to the following two statements:
"I’m not sure just how to stress the importance of doing color and tone correc
tions in 16 bits in Photoshop. One can point to the obvious advantages...I
suppose the difference could be characterized as professional vs. recreational
use of Photoshop."
"It’s totally obvious to anyone who looks that it’s very advantageous to do
the big moves on high-bit data."
Considering that neither of the individuals who made these statements is able
to produce even a single image on which correcting in high-bit can be
demonstrated to be helpful, you will perhaps understand why I consider your stat
ement, if I have translated it correctly, to be more reasonable.
Dan Margulis
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