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It is important to mention how different this histogram is from the histograms displayed by the camera itself, and by the raw converters. They are taking care of this error for us. Both problems can be easily illustrated - as with the digital cameras one doesn't need to wait for lab processing. Let's take an image of the same sheet of paper, applying -3 eV from the middle grade.

Thus we get into the beginning of shadow values. Next, let's stretch the channels a little bit, the same way we do it when we extract details from shadows. There is nothing really strange here, because the red channel is underexposed by three stops, not by two, as the green one. Of course, to make the difference more pronounced, a strong dose of post processing was applied, however, if the red channel is weaker than we had it here, the difference will be even more drastic.

Noise level depends on raw converter used, interpolation mode and so on. Unfortunately, there is no easy way to cope with this problem. The sensitivity of the channels could be balanced either by a filter on the lens for this particular camera model it would be magenta CC30M , or with the same filter on the light source flashgun.

However, this can be done only if the light is strong enough. The results with the filter discussed in the next article. Because the camera fixes the histogram, it is highly possible that in some situations, one channel clips, while the camera histogram fails to show it. As a matter of fact, if you're shooting, setting the exposure in such a way that the histogram comes close to the right wall ETTR, exposed to the right the clipping will occur more as a routine rather than as an exception.

Here the image shows a very typical cityscape lit by the sun coming from a side. Now, looking at the photo of the camera LCD, we can say that the histogram seems fine and there is no overexposure. Unfortunately, the green channel is clipped, while the red channel is one stop underexposed, as you can see it on the histogram of the raw data. If the white balance is intentionally changed, or if the contrast setting is changed, then the histogram displayed on the back of the camera will change too, as we discussed earlier, however the raw data captured will be absolutely the same.

So we are coming to the conclusion that even per channel camera histogram does not provide us with trustworthy information about under- or over-exposure of the channels. In one of the next articles we will try to show how to tune the camera to avoid this kind of misinformation. If the lighting is cooler, nothing really changes.

From the point of view of the camera, the blue channel is more exposed, as you can see it on the image, however, the level of details is less than that of the green channel. If the white balance of the camera is set to the real value of the light color temperature and not to the Auto or as many often do it, to daylight , then the readings on the camera LCD will deviate from the reality even more.

Wider peaks on the histograms compared to the shot taken at daylight are because with the artificial it was more difficult to achieve the evenness of the light across the target, than it was with the sun.

Once again we can see the that the statement holds true: histogram displayed on the back of the camera differs greatly from the real histogram of raw data. If the light is provided by the bulbs, the behavior changes to the opposite: the camera can give a false alarm of an overexposure. This time, the model was a red doll on a white stool. The source of light was a 60 Watt incandescent bulb; the camera evaluated its color temperature as K, while Adobe ACR suggested K.

The camera histogram was of a very strong overexposure. The real raw histogram shows no sign of overexposure. It is now pretty obvious that one of the reasons of the constant bad quality of the images taken under artificial light is the banal underexposure resulting from the blind trust in histograms as they are displayed on the back of the cameras.

If the shot is exposed as it is recommended by the camera, it turns underexposed by more than 2 stops, resulting in a noisy, poorly detailed image. The spectral sensitivity of the sensor is established at the design time. The manufacturers of the cameras are forced to set the per channel sensitivity in such a way that the resulting images will be acceptable under both daylight and incandescent bulbs. From this point of view, the high sensitivity of the green light channel is a forced trade-off, allowing to get a reasonable color of the human face, under artificial lighting the green is the auxiliary color, not generally present in the faces, but it is the closest to luminosity, and if it is underexposed, the noise will prevail.

A knowledgeable photographer should correct for this, shooting in the daylight. Camera preview, ideally, is supposed to show the shot after the white balance is applied, especially taking into the account, such modes as print right from the camera, or print all selected from the compact flash card.

The situation with the histograms is much more complicated. Of course it is desirable and sensible when the histogram on the camera and the histogram displayed by the raw converter are similar, however the photographer should be informed of the real state of matters in the raw file.

It well may be that those photographers interested in the real state of matters are very few, and they can use an easy way to cut the corner, and to trick the histogram display, forcing the camera to show a histogram which is much closer to the reality. All trademarks and trade names used are property of their respective holders. The Kodak trademark and trade dress are used under license from Eastman Kodak Company.

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