On 4/10/2014 7:34 AM, Ken Norton wrote:
>> This is called being pedantic. <g> I actually know this. I was thinking
>> about all the folks who set their cameras to shoot jpeg and sRGB. I can't
>> recall the last time I shot a jpeg. RAW all the time, that's me. <g> Shoot
>> RAW, post process in ProPhoto. Gives you the greatest diameter of options
>> when contemplating what to do with an image.
> Sorry, ...
>
> If a person is shooting in-camera JPEG, I honestly cannot fathom a
> reason why you would ever select aRGB in-camera. And, for me, I am
> thinking of the output. I tend to work backwards (does this surprise
> anybody?). If the output is sRGB, why subject myself to conversion
> steps if I don't need to?
Simple, 'cause when you bend the tones, you get gaps and piles in the
histogram. Sometimes not noticeable, sometimes
ugly. Worse, sometimes just off, and hard to see how/why. And once it's
happens, and is noticed, it's back at least
several steps.
But I may be unjustly maligning your idea. Do you convert to 16 bit at the
beginning?
> Back to the in camera JPEG with aRGB,
Where? Where? Why? I only process RAW from cameras with RAW capability.
> there is a HUGE reason to avoid
> this combination: JPEG is 8-bit per channel depth. aRGB maps the tonal
> curves across those 8 bits in a way that is likely to either end up
> with posterization artifacts or a pretty big black hole in the lower
> two brightness zones. There is no free lunch. In order to widen the
> color gamut, you have to borrow, beg or steal bits from somewhere. If
> you are in 16-bit mode, that's fine, but 8-bit doesn't give enough
> bits to work with. An in-camera 16/TIFF/aRGB works, but 8/JPEG/aRGB
> doesn't.
I agree, and when I work on sRGB images from the web, I go 16 bit, but stay in
sRGB.
Convert RAW in ACR directly into aRGB or ProPhoto, though, for maximum quality
and flexibility.
Big Bit Moose
--
What if the Hokey Pokey *IS* what it's all about?
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