Photoshop offers 8, 16, and 32-bit file formats. Others may disagree with me on this, but I have yet to push a file and find banding issues related to ProPhoto in 16-bits. A bit is a computers way of storing information as a 1 or 0. If you print at home, you can just create a copy of your 16-bit working file and finalize it (flatten, sharpen, change color space if needed, etc). The extra bits mostly only matter for extreme tonal corrections. For displays, the terminology changes. To see out the difference, consider the following simplified visual example: As you can see, increasing bit-depth reduces risk of banding by creating more increments, while expanding color space (wider gamut) enables the use of more extreme colors. Download our free iPad app at http://itunes.apple.com/us/app/video-training-courses-from/id418130423?mt=8More details on this Photoshop training can be seen at http://www.infiniteskills.com/training/learning-adobe-photoshop-cc.html This clip is one example from the complete course. Lightrooms HDR DNG format is perfectly fine to use. If you really want or need 16-bit, shoot raw and process it in 16-bit, the way everyone else does. Be sure that you arent seeing false banding due to the way Photoshop manages layered files (see my previous post No, You Really Dont Have Banding for details on the issue and how to test for real banding). RGB images with 8bits per channel (Bits/Channel or bpc) are sometimes called 24bit images (8 bits x 3 channels = 24 bits of data for each pixel). So I copied the white balance from the above image, which resulting in an image which was slightly warm and definitely a bit too green. If youre new to working with images in Photoshop, you may not understand exactly what color depth is. A 16-bit RGB or LAB image in Photoshop would have 48-bits per pixel, etc. If you were to use a box of crayons as an example, greater bit-depth would be like having more shades (more crayons) and greater gamut would be like having the most saturated color be more bold (regardless of the number of crayons). The simple truth is, if you want 16-bit data, you have to start with 16-bit data that is, by exporting in 16-bit mode from Raw. For example, an image with a color depth of 1 would only have two values: black and white. Bit depth tells Photoshop how many colors an image can contain. Yes, Photoshop does allow you to convert your 8-bit file to 16-bit, but it doesnt truly turn it into 16-bit data. Note that if you want to create your own file in Photoshop, the gradient tool will create 8-bit gradients in 8-bit document mode (you can then convert the document to 16-bit mode and will still have an 8-bit gradient for testing/comparison). I do not see notable differences in noise, but there are huge differences in color cast in deep shadows (with the 12-bit file shifting a bit yellow and quite a bit green) and some minor differences in shadow contrast (with the 12-bit file being a little too contrasty). If so, why bother with 16-bits? A color image is typically composed of red, green, and blue pixels to create color. ProPhoto is a good choice to keep all printable colors. I want to finish this page on a note of practicality 8-bit data is nowhere near as flaky as you might have been lead to believe. And if you dont see it right away, even modest adjustments can expose it. If you really want to maximize your bits, check out the betaRGB or eciRGB v2 profiles (which contain all print/display colors with much less waste than ProPhoto). So if you're image is at 16 bit RGB say a raw file, just convert it to 8 bit RGB. No conversion necissary. Lightrooms white balance tool was easily able to use the gray card to get proper white balance. There is no immediate visual difference. I have to change my screenshots to at least 16 or the artwork will not show in the canvas, but you can see it clearly in the layer view.There's no place to set this to 16 bit by default so you don't have to set this every time? In Photoshop select save for web, once the window pops up on the preset . Bit-depth determines the number of possible values or increments. This is where you will find all of the color information about your file. Lets say you had shot in Jpeg mode (Jpegs are always 8-bit) and blown out the sky, so you wanted to add a gentle blue vignette layer to the white sky. How did I test that? First, make sure the mode is set to RGB Color. But, its always a good idea to check with your printer to find out their requirements to you dont run into any issues with your print order. For one, it would be a lot of work to develop both Photoshop and file formats to support other bit depths. Results from other cameras are likely to vary, and the differences are ISO-dependent so you should test with your own camera. Changing Bit Depth in Photoshop If you opened a RAW or other type of high quality, uncompressed, image straight into Photoshop, don't worry, you can easily change the bit depth setting there too. If you are using Lightroom to export to JPG, dithering is used automatically (you dont have a choice). In other words, precision (the number of bits) and accuracy (the quality of the numbers stored with those bits) are not the same. How to Extract Enhanced Shadow Detail with Subtracted Luminosity Masks, click here to see the full resolution image in the JPEG2000 format with bit depths up to 14-bits, how to use HSL for beautiful color and avoid banding. To start, open up your file in Photoshop. It just puts the 8-bit data into a 16-bit wrapper, if you know what I mean. In the popup, select a color mode you prefer and click OK to save the changes. When you combine 2 bits, then you can have four possible values (00, 01, 10, and 11). Since CMYK mode has 4 color channels instead of 3, you can expect a larger file size than you would with an RGB mode image. Every time we add another bit, the number of potential combinations doubles. Should you worry about this loss of 1 bit? But it seems your conference is going to be enormously popular, so you announce youre changing the venue to a huge hall thats big enough for 1600 people. So why doesnt Photoshop open a 12 or 14-bit RAW file as 12 or 14 bits? In reality, 8-bits is fine for final print output. And as discussed above, wider gamuts should be used with 16-bit files. The difference between 8 bit, 16 bit, and 32 bit is the number of color values that can be displayed. Even if portions of your shadows are this underexposed, I cant see a scenario where you would fully correct them to a middle gray. Photoshop lists the bit depth as Bits/Channel. So 8-bits means 8-bits per channel. When using Photoshops gradient tool, checking the dithering option creates the perception of 1 extra bit of detail. This will cause Photoshop to open the file in 16-bit mode when you're done processing the RAW file. Now, towards the bottom of the menu, you should see the three Bit/Channel options. To describe something complex, we can combine multiple bits. How you choose to edit your photos ultimately comes down to your system and what you hope to accomplish. Trouble is, you still only have 80 chairs, which you space out across the hall in a feeble attempt to "fill" the space. You can remove banding in post processing using a combination of Gaussian blur and/or adding noise. So go with 16-bits. Images with 32 Bits/Channel are . The first version (on top) is the processed 14-bit image. In addition to 8 Bits/Channel images, Photoshop can also work with images that contain 16 or 32 Bits/Channel.. But what about if you are sending your images over the internet to be printed by a pro lab? Yes, Photoshop does allow you to convert your 8-bit file to 16-bit, but it doesn't truly turn it into 16-bit data. However, understanding color depth can help you maximize quality and choose the right tonal range for each one of your projects. It would be convenient if all bit-depths could be compared directly, but there are some variations in terminology that are helpful to understand . Adding that margin of safety on top of a goal of at least 9-10 bits to avoid visible banding gets you to roughly 14-15 bits as an ideal target. After all that discussion, it really comes down to a few simple rules. I used the exact same +5ev and curve adjustments. As we discussed above, sometimes the choice of bit depth doesnt matter right away, but later in the process. Be sure to enable/disable dithering in the gradient toolbar as best for your testing. I created a software algorithm to generate my gradients in every bit depth from 1 to 14 on the image. Monitor vendors want to make their equipment sound sexy, so they typically refer to displays with 8-bits/channel as 24-bit (because you have 3 channels with 8-bits each, which can be used to create roughly 16MM colors). Copyright 2022 Adobe. This affects processing speed, memory usage, and hard drive storage. I wouldnt worry about it if you are using a 16-bit working space (you definitely do not want to throw away any bits if you are using an 8-bit working space, but you should never use 8-bits anyhow). But if you do run into banding (most likely if you get an 8-bit stock image), you can take the following steps to minimize it: Download the FREEluminosity masking panel . Below are some extreme examples from my testing. It is typically recommended that you use the Save As option to save a copy of the new bit depth file so that you can keep a copy of the original file just in case any changes need to be made. Release the cursor and the image is converted to the pixel depth you chose. Color offers more bit-depth. The file size of a 16-bit image is twice the size of a 8-bit image. Anything else with detail makes it MUCH harder to see the difference in bit depth. In Photoshop, this is represented as integers 0-255 (internally, this is binary 00000000-11111111 to the computer). When editing images for print, its important to understand and use the proper color depth to get the greatest range of tonal values. Aside from P3 monitors, there are printers commercially available which exceed the AdobeRGB gamut as well (particularly in the cyans). Can you change it in Photoshop? You would assume that this then means 16-bits means 16-bits per channel in Photoshop. Size. In other words, increasing the contrast in the image is like decreasing bit depth. A 3-stop change in exposure is closer to only losing 2 bits. Color Space determines the maximum values or range (commonly known as gamut). Learn two methods for creating depth of field effects with Photoshop. Color depth simply refers to the highest number of colors an image can hold. Locating the color depth of an image is a generally easy task. Most cameras will let you save files in 8-bits (JPG) or 12 to 16-bits (RAW). The human eye is more sensitive to shadows, and a logarithmic curve is applied to the RAW sensor data (not to TIF or other files after RAW conversion). If you were nervous about banding in the sky, you could convert to 16-bit before adding the vignette layer. Download our free iPad app at http://itunes.apple.com/us/app/video-training-courses-from/id418130423?mt=8More detail. I have heard many experts claim something to be true (in theory), only to find that real world factors make the theory essentially irrelevant. This technique will add believable depth of field to you images. 12-bits is definitely a reasonable choice. All Free Mockups also participates in affiliate programs with other sites. In general, the number of possible choices is 2 raised to the number of bits. It is also important to note that you are likely to run into false banding when viewing images at less than 67% zoom. (In this case, the Mac menu appears on the left and the Windows one on the right.) There are massive feature limitations in the 32-bit space, workflow challenges, and the files are twice as big. Bit Depth: Again, a simple choice; Lightroom offers to export your image with a bit depth of either 8 bits per channel or 16 bits per channel. Keep reading for a quick guide on changing color depth in Photoshop, and why its important. In other words, 24-bits (aka True Color) for a monitor isnt super impressive, it actually means the same thing as8-bits for Photoshop. For the rest of this article, Ill be referencing bits/channel (the camera/Photoshop terminology). If you can shoot 16-bits, thats fine but probably overkill. Before we compare the various options, lets first discuss what the naming means. The rest of the photo would still (in reality) be 8-bit, but the sky gradient would be true 16-bit. (I have not posted the Capture One results here, but both are worse, with the 12-bit file being truly terrible for this extreme underexposure.). So your conference still only has 80 attendees, but now theyre all sitting many metres apart from each other, and the whole thing is completely pointless. Clear blue skies are probably the most likely. Therefore, a bit image that has 65,536 possible values for each channel, would have over 281 trillion possible color values. As of Photoshop CS5, a maximum of 32-bits can be used. Simply adding some noise to an 8-bit gradient for a fake sky is perfectly adequate. It's important to have at least a small understanding of what bit depth is and when you should use different bit depths when working with your images. Im sorry to say theres almost no benefit to this. There are other ranges as well, such as 12-bit and 14-bit, but these arent used in Photoshop, so we wont get into them here. Youll then want to save the file to retain any changes. I then processed the images in Lightroom (LR) using exposure and white balance adjustments. And even when I am looking for it, I cannot easily tell exactly where the edges are in comparison to a 10-bit gradient. But if you process in color, you probably have a little more wiggle room. Thank you! 8-bit is perfectly fine for most people, most of the time. The one with the checkmark next to it is your current color depth. There are a few different ways to change the bit depth of an image. When you combine 3 bits, you can have eight possible values (000, 001, 010, 011, 100, 101, 110, and 111). Im not posting the 12-bit original RAW as it looks the same before processing. If you convert a single layer 16-bit image to 8-bits, you will see something that looks exactly like the 16-bit image you started with. . Therefore, it is recommended that any images that will be printed are set to at least a 16-bit color depth. Most of Graphic software, by default, work on 8 Bit per color channel, providing two options for Color Modes (RGB & CMYK) and default value for Color Profile as per your choice of Color Mode.. A 8 Bit document generally means 8 Bits of color information per color component or color channel. Each channel is 8 bits so any RGB image that's 8 bit would be. Depending on the quality of your monitor, you can probably only display differences up to 8-10 bits. All rights reserved. So while this result is ok, it is just shy of a disaster. To test the limits for my Nikon D850, I shot a series of exposures bracketed at 1 stop intervals using both 12 and 14-bit RAW capture with my D850 at base ISO under controlled lighting. This works great if you want to change it every time you create a new file, but something has changed recently that defaults mine to 8bit. Handy Photoshop Links you will want to bookmark, Troubleshoot - Scratch disk are full error, Move artwork between Photoshop & Illustrator. So Id suggest an extra 4-5 bits over the limits of visible banding to be safe. Skip the 32-bit working space, unless you are using it as a way to combine multiple RAW files and then multi-process them as 16-bit layers (HDR workflows). Photoshop does actually use 16-bits per channel. One way is to use an image editing program like Photoshop. It is always important to validate your assumptions. If you are one of the few people who needs to use an 8-bit workflow for some reason, it is probably best to stick with the sRGB color space. The higher the bit depth, the more an image can be adjusted without losing quality. Tones are created in RGB in a gradient from black to white. Not very useful. Here's an example of the canvas vs layer view in 8-bit mode. I have several Saved presets that are my go to and i never use what ADOBE has listed, all my presets somehow had 16 bit to them! 12-bit files can be pushed 3-4 stops in LR or CO, 14-bit files can be pushed 5-6 stops in LR or 4-5 stops in CO. So a JPG (which by definition is an RGB image with 8bits/channel) will actually be a 24 bit image. For several reasons: Based on the discussion above, it should be clear that 8-bits is not enough. It indicates how many bits of data are used to represent a color value, or how many are used in each channel. Color depth, also known as bit depth, is essentially how much information each color channel can store in each pixel. For more free Adobe design tutorials please visit out our main website. This may be helpful if working in an 8-bit file. Your cameras accuracy is not as high as its precision. A single bit isnt really good for anything beyond yes or no because it can only have 2 values. RGB mode images are made up of three color channels (Red, Green and Blue). (figured this one out the hard way lol)For the life of me I cannot figure out where the setting is to change the default back to 8 bit, where can I change that? I rarely would adjust RAW exposure out to +/-4 stops, but it can happen with extreme situations or portions of poor exposures. Camera companies can claim any bit depth they want, it does not mean that you are getting better quality. Ultimately, I find that at ISO 64 with a Nikon D850: As I generally try to avoid more than 3 stops of shadow recovery due to noise, the color cast due to 12-bit files is rarely going to be an issue in my work. But ProPhoto is a well-defined standard worthy of consideration, so does it create jumps large enough to cause banding issues? Inevitably, there are some incurable nerds who say its important to work in 16-bit mode for everything, but of course thats not true. Off the top of my head, I can only think of one scenario where converting an 8-bit photo to 16-bit would be advantageous, and its not very common. I'm just saying that I don't think Photoshop's 15+1 bit depth design is . If it was a pixel, it would be pure black or pure white. How to change default bit depth. Of course, be sure to export from this RAW as a 16-bit TIF/PSD when you need to continue on to Photoshop. As you can see, there is tremendous shadow detail. See my post on false banding to learn how to avoid any confusion. So there there may be value in capturing extra bits of detail depending on your needs and camera. If your source file is only available in 8-bits (such as a stock JPG), you should immediately convert the layered working document to 16-bits. Typically, the more data each color channel can hold, the better. What I found surprised me, the Capture One (CO) results fell off much more quickly with deep shadows. If our scale is brightness from pure black to pure white, then the 4 values we get from a 2-bit number would include: black, dark midtones, light midtones, and white. Lightroom was unable to get a proper white balance from the gray card, there is simply too much color noise at the pixel level in this file. This gives me more latitude to deal with extreme scenes or work with files that I may accidentally underexpose. A better generalized solution for removing banding is described below. I've been doing screenshots for UI development for years by screensgrabs, copying and pasting into PS and manipulating there. If you have to send a JPG, it will be in 8-bits, but that shouldnt be a concern. Click the button at the bottom of the ACR screen to . Each of these colors is handled by your computer and monitor as a channel. I have tried various test edits designed to induce banding with ProPhoto and still not run into it (with 16-bit files). I would almost certainly miss it if I werent looking for it. This can start to make small gaps between values turn into large gaps. Keeping in mind that we only need to expand dynamic range a few stops with HDR and that we really only need 12-14 bits in a single RAW file, this is an acceptable format that increases quality without creating enormous files.) RGB images with 8bits per channel (Bits/Channel or bpc) are sometimes called 24bit images (8 bits x 3 channels = 24 bits of data for each pixel). And opening a 12-bit file as 16-bits is really no different than opening an 8-bit JPG and then converting to 16-bits. I wouldnt be surprised if you are not getting 16-bit accuracy from a 16-bit file, but that is speculation on my part. Of course, youll need to be on the lookout for it so that it doesnt sneak into a print. Ok, thats still not a wonderful analogy, but I hope you see what Im getting at. I dont have a 16-bit camera to test. If youre not familiar with bit depth, read this article. Of course, youll need to convert the RAW to the wide gamut during the initial export, switching the color space later wont recover any colors you throw away earlier in the process. So you can get larger jumps (risks of banding) by either reducing bit depth or increasing the range over which the bits are applied. -- ~K If your print lab accepts 16-bit formats (TIFF, PSD, JPEG2000), thats probably the way to go but ask your vendor what they recommend if you are unsure. To give a little more detail on my methods, I created an image that is 16,384 pixels wide which allows me exactly 1 pixel for every value in a 14-bit gradient. Honestly I am NOT sure - I did open the "camera raw" setting under edit >preference> camera raw but didnt see a setting there unless I missed something. I rarely would adjust RAW exposure out to +/-4 stops, but it can happen with extreme situations or portions of poor exposures. Or, simplify luminosity maskingwithLumenzia: See thestorepage for Lumenzia and course info.Lumenzia and Greg Benz Photography are registered trademarks of Greg Benz Photography LLC.Seelicensingfor Commercial and Creative Commons (Non-Commercial, Attribution) Licensing terms.Join myaffiliateprogram.See myethics and privacystatement. A single bit has 2 possible values, 0 or 1. So 8-bit = 2^8 = 256 possible integer values. Even if the source has been degraded, processing in 16-bits will still yield better results as it will minimize compounding of rounding errors in the math with multiple adjustments. (You may be aware that it uses 16-bit floating point math in order to cover a wider dynamic range with a similar number of bits. And our cameras often offer 12 vs 14-bit files (though you might get 16-bit with a medium format camera). I then manually corrected the image the best I could, but there were no white balance settings which looked fully correct nor matched the 14-bit file. Whenever I create a new file it automatically creates it in 16 bit depth, and I never think about it until I either go to use filter gallery or transfer my sketches to illustrator to refine and I cannot . This means that instead of 2^16 possible values (which would be 65,536 possible values) there are only 2^15+1 possible values (which is 32,768 +1 = 32,769 possible values). 4. A while back I was messing with some settings in photoshop and must have accidently done something wrong. If we never edited photos, there would be no need to add any more bits than the human eye can see. Photoshops gradient tool will create 12-bit gradients in 16-bit document mode. A 4-stop change in exposure is on the order of losing a little over 4 bits. I do critical work on a 27 Eizo (CG2730). Defining a range with a bunch of unused (imaginary) colors is wasteful/innefficient and causes larger jumps over the range of image values we care about. Dont believe me? Switching it to 16-bit fixes it. For the most part, 16-bit images allow for the most tonal range without exceeding printer capabilities. 2-bit images are typically called bitmaps, and they contain only . It probably looks pure black to you, but if you look closely, youll see theres some detail. As a general rule, the more colors (higher bit) that an image has, the smoother the transitions between tones and the less banding that is present. A while back I was messing with some settings in photoshop and must have accidently done something wrong. Sometimes we see files referred to as being 24 of 48-bit. As a general rule, color depth, or bit depth, should be set to the 16-bit mode when making prints. Because the information is stored in each pixel, that means that the file size increases with the color depth. That said, using 16-bit capture should give you at least an extra bit in Photoshop and may be beneficial. This simply means that ProPhoto RGB will retain most color information present in Lightroom recreating your image in Photoshop faithfully. However, it treats the 16th digit differently it is simply added to the value created from the first 15-digits. So I set both to +4 exposure and then adjusted the RAW curve to bring in the white point to 50%. The futility of the exercise. If you are using Photoshop CC, use the Camera RAW filter to add some. CO was not as good as LR at -5 and nearly unusable at -6ev, while the LR result was surprisingly usable at -6ev. With a clean gradient (ie, worst case conditions), I can personally detect banding in a 9-bit gradient (which is 2,048 shades of gray) on both my 2018 MacBook Pro Retina display and my 10-bit Eizo monitor. To do this, choose Image from the menu bar, navigate to Mode, and select 16 Bits/Channel. Noise is a very good example of this discrepancy. For that reason, it is worth using a wider gamut now so that your working file can take advantage of better printers and monitors later, such as ProPhoto RGB. Lastly, add some noise to restore the appearance of grain lost due to blurring. My test scene included a gray card to help precisely evaluate white balance. So forget it. No. I would generally recommend merging to HDR in Lightroom instead of using 32-bit Photoshop files. Want all of our free Photoshop videos? Bit depth is one of those terms weve all run into, but very few photographers truly understand. This will have the same effect of keeping as many . /t5/photoshop-ecosystem-discussions/how-to-change-default-bit-depth/td-p/10969301, /t5/photoshop-ecosystem-discussions/how-to-change-default-bit-depth/m-p/10969326#M312968, /t5/photoshop-ecosystem-discussions/how-to-change-default-bit-depth/m-p/10969335#M312970, /t5/photoshop-ecosystem-discussions/how-to-change-default-bit-depth/m-p/10969331#M312969, /t5/photoshop-ecosystem-discussions/how-to-change-default-bit-depth/m-p/10969338#M312971, /t5/photoshop-ecosystem-discussions/how-to-change-default-bit-depth/m-p/10969408#M312984, /t5/photoshop-ecosystem-discussions/how-to-change-default-bit-depth/m-p/12895433#M638441, /t5/photoshop-ecosystem-discussions/how-to-change-default-bit-depth/m-p/12895463#M638448, /t5/photoshop-ecosystem-discussions/how-to-change-default-bit-depth/m-p/12895534#M638459.
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