More expose right...

Jack DuMoulin

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In a recent thread several folks took exception to Michael Reichman’s claim that the highlights are represented by more data than the shadow areas and that in order to maximize your exposure you should expose to the right of the histogram. Since it appeared that some posters were starting to roll up their sleeves I decided not to participate. I am simply not interested in arguments and flames. I would rather go for a walk with my 10D and take some photos.

MR and TK are correct. The objection appears to be based on the premise that Michael (and Thomas Knoll) as well as their followers assumed that a CCD or CMOS sensor is nonlinear. This is not true. CCDs and CMOS sensors are linear devices. So how does this support MR’s claim? Well, the issue is based on the way a light source relates to image illumination and the associated coding into digital data points. I’ll try and explain this in simple terms so that anyone can dissect and follow it.

Fact #1 Sensors are linear devices. In other words if you double the light input, the sensor voltage will double.

Fact #2 Image illumination varies with the square of the light source intensity. To put it in simple language if you double the intensity of the light source (or double the lens opening while holding shutter speed constant), the image illumination will increase four fold. We can restate this by saying that if we want to double the image illumination we will have to increase the aperture by √2 or 1.414. This is what our f stops are based on. They vary in steps of X1.4 and for every f stop increase or decrease the image illumination and by corollary the sensor voltage will be doubled or halved.

Anyone doubting fact #2 can easily verify it by soliciting any good technical photographic text.

So let’s see what happens if we look at a series of f stops and compare them with sensor voltage, the binary coded value of this voltage and the number of bits required to represent this value:

F Stop/Sensor voltage/Binary Data/Bits

2 5 4096/ 12
2.8/ 2.5/ 2048/ 11
4 1.25 1024/ 10
5.6/ .625/ 512/ 9
6.8/ .3125/ 256/ 8

As we see from the table for every reduction in f stop the voltage of the sensor is cut in half in keeping with our Fact #2. I arbitrarily picked 5V as the maximum value of the sensor representing the highlight clipping level. The actual voltage may vary but the principal is the same. We also see from the above that f 2 is represented by 4096 binary data points while f 6.8 contains only 256 data points. The table also illustrates that if you underexpose by one f stop you leave half your total data on the table, just as MR stated in his article. You are effectively only using 11 bits of the 12-bit A/D converter. That’s all there is to it. Let me hasten to add that there is absolutely nothing new about this; it has been understood and used by digital engineers for decades. I have designed some digital equipment that is based on the above principle, so if I am wrong, I am in deep trouble. However, since these controls have been in operation in several OSB plants thoughout North America for several years and are still opreating, I am not too worried. :)))

I hope I explained it plainly enough for everyone to understand and perhaps we can put this issue to rest.

Jack
 
Jack~

I wish I had something insightful to add, but I'm afraid this dicussion is just slightly over my head. I read the words you wrote, but it's gonna take more experience fully to understand them. Don't take a lack of replies as a sign that nobody cares--many people just might not have anything important to add. Where is that thread with the link to Michael Reichman's article? It was interesting and I want to read the responses to it. Also, did anyone put his theory to test and post examples? I'd be interested in trying if no one did.

Chris
--
http://www.pbase.com/sinushi


 
Good job, Jack!

I believe a lot of the confusion is in the way that applications use this linear data. It can be as simple as a gamma correction curve or subtly interwoven in the CMF that controls the output. That's what is so powerful about the application/conversion of RAW data. At this point, there is always room for improvement and discussions like the ETTR, although somewhat heated at times, do usually bring out some useful info. Your contribution is a prime example.
Thanx for taking the time to do so,
VG
In a recent thread several folks took exception to Michael
Reichman’s claim that the highlights are represented by more data
than the shadow areas and that in order to maximize your exposure
you should expose to the right of the histogram. Since it appeared
that some posters were starting to roll up their sleeves I decided
not to participate. I am simply not interested in arguments and
flames. I would rather go for a walk with my 10D and take some
photos.

MR and TK are correct. The objection appears to be based on the
premise that Michael (and Thomas Knoll) as well as their followers
assumed that a CCD or CMOS sensor is nonlinear. This is not true.
CCDs and CMOS sensors are linear devices. So how does this support
MR’s claim? Well, the issue is based on the way a light source
relates to image illumination and the associated coding into
digital data points. I’ll try and explain this in simple terms so
that anyone can dissect and follow it.

Fact #1 Sensors are linear devices. In other words if you double
the light input, the sensor voltage will double.

Fact #2 Image illumination varies with the square of the light
source intensity. To put it in simple language if you double the
intensity of the light source (or double the lens opening while
holding shutter speed constant), the image illumination will
increase four fold. We can restate this by saying that if we want
to double the image illumination we will have to increase the
aperture by √2 or 1.414. This is what our f stops are based
on. They vary in steps of X1.4 and for every f stop increase or
decrease the image illumination and by corollary the sensor voltage
will be doubled or halved.

Anyone doubting fact #2 can easily verify it by soliciting any good
technical photographic text.

So let’s see what happens if we look at a series of f stops and
compare them with sensor voltage, the binary coded value of this
voltage and the number of bits required to represent this value:

F Stop/Sensor voltage/Binary Data/Bits

2 5 4096/ 12
2.8/ 2.5/ 2048/ 11
4 1.25 1024/ 10
5.6/ .625/ 512/ 9
6.8/ .3125/ 256/ 8

As we see from the table for every reduction in f stop the voltage
of the sensor is cut in half in keeping with our Fact #2. I
arbitrarily picked 5V as the maximum value of the sensor
representing the highlight clipping level. The actual voltage may
vary but the principal is the same. We also see from the above
that f 2 is represented by 4096 binary data points while f 6.8
contains only 256 data points. The table also illustrates that if
you underexpose by one f stop you leave half your total data on the
table, just as MR stated in his article. You are effectively only
using 11 bits of the 12-bit A/D converter. That’s all there is to
it. Let me hasten to add that there is absolutely nothing new
about this; it has been understood and used by digital engineers
for decades. I have designed some digital equipment that is based
on the above principle, so if I am wrong, I am in deep trouble.
However, since these controls have been in operation in several OSB
plants thoughout North America for several years and are still
opreating, I am not too worried. :)))

I hope I explained it plainly enough for everyone to understand and
perhaps we can put this issue to rest.

Jack
 
I redid my experiment in "linear" mode. Used BreezeBrowser to do the conversion, exported as a 16-bit image and loaded it into photoshop.

Recall the two images were 4 f/stops apart. First thing I noticed was file size. The bright image filesize was about 10x larger than the dark image. This indicated more pixel values present.

Did the "thing" with Levels so I could see individual value spikes. For a 4-stop range I got about a 16:1 ratio. So, the theory holds with linear data.

Evidently the tranformation from linear to nonlinear space mucks things up a bit. Thanks to VG for pointing this out, and Victor Engel for recommending BreezeBrowser for linear exports.

--
Thomas Niemann
Photoshop for Photographers
http://epaperpress.com/psphoto
 
I redid my experiment in "linear" mode. Used BreezeBrowser to do
the conversion, exported as a 16-bit image and loaded it into
photoshop.

Recall the two images were 4 f/stops apart. First thing I noticed
was file size. The bright image filesize was about 10x larger than
the dark image. This indicated more pixel values present.

Did the "thing" with Levels so I could see individual value spikes.
For a 4-stop range I got about a 16:1 ratio. So, the theory holds
with linear data.

Evidently the tranformation from linear to nonlinear space mucks
things up a bit. Thanks to VG for pointing this out, and Victor
Engel for recommending BreezeBrowser for linear exports.

--
Thomas Niemann
Photoshop for Photographers
http://epaperpress.com/psphoto
 
Here I go, not heeding VG's advice again...

For a 4-stop difference I observe a 16:1 ratio in linear mode, but only a 2:1 ratio when the image is imported to Photoshop using conventional means. What does this means as far as picture quality goes?

For example, if I underexpose by 1 stop, I lose 1/2 of value levels in linear mode. But, as far as images in Photoshop are concerned, the amount is much less than that.

What I'm trying to say is that ETTR (isn't it great there's a mnenonic now?)

works, but failure to do so will not result in the drastic decrease in quality I once envisioned.

Opinions?

--
Thomas Niemann
Photoshop for Photographers
http://epaperpress.com/psphoto
 
I agree with you Thomas, that the loss of half the data points may not be all that noticeable in an otherwise well exposed image. Many of the current crop of P/S digicams only use a 10 bit A/D converter (with only one quarter the of the date of a 12 bit unit) and still display excellent image quality. You will notice the difference primarily while recovering shadow detail; the fewer data points, the higher the susceptibility to banding, which is especially noticeable in B/W images. I don't follow the ETTR rule too religiously unless I am dealing with a very high contrast subject where every bit can make a difference.

Jack
Here I go, not heeding VG's advice again...

For a 4-stop difference I observe a 16:1 ratio in linear mode, but
only a 2:1 ratio when the image is imported to Photoshop using
conventional means. What does this means as far as picture quality
goes?

For example, if I underexpose by 1 stop, I lose 1/2 of value levels
in linear mode. But, as far as images in Photoshop are concerned,
the amount is much less than that.

What I'm trying to say is that ETTR (isn't it great there's a
mnenonic now?)
works, but failure to do so will not result in the drastic decrease
in quality I once envisioned.

Opinions?

--
Thomas Niemann
Photoshop for Photographers
http://epaperpress.com/psphoto
 
Hey! You better watch it! Not heeding my linear/nonlinear advice could result in upside down histograms.

I totally agree with you on your eval of ETTR. After over 30k worth of RAWs, I try to stick it in where I can but if I can't, I can't, so I don't sweat it. What little I lose, I'll make up for it in C1 or that marvelous Knollware.
VG
Here I go, not heeding VG's advice again...

For a 4-stop difference I observe a 16:1 ratio in linear mode, but
only a 2:1 ratio when the image is imported to Photoshop using
conventional means. What does this means as far as picture quality
goes?

For example, if I underexpose by 1 stop, I lose 1/2 of value levels
in linear mode. But, as far as images in Photoshop are concerned,
the amount is much less than that.

What I'm trying to say is that ETTR (isn't it great there's a
mnenonic now?)
works, but failure to do so will not result in the drastic decrease
in quality I once envisioned.

Opinions?

--
Thomas Niemann
Photoshop for Photographers
http://epaperpress.com/psphoto
 
First of all, I kind of agree with expose to the right, but I think you are using the wrong arguments. No need to get technical at all. What the sensor is doing is completely unimportant. It's what the metering system is doing that's important. The metering system is what's giving you the information. How it processes what the sensor sees determines how you expose.

No reason at all the metering system couldn't be a linear function of sensor output, or inverse linear, or log, or whatever. Because of convention and history, the exposure meter measures in stops. It's an unavoidable consequence of this, independent of sensors, that half the information is contained in the last metered stop. It's an equally unavoidable conclusion that metering the last stop to avoid clipping is very difficult, because you have a lot of "information" contained in a small portion of the scale.

So, together, that leads to the rule expose to the right, but use your judgement to avoid clipping, which we all knew anyway, right?

After thinking about this, it seemed that a more linear metering system wouldn't be a bad idea. What you really want to do is to push the exposure till the highlights clip, so you want something with an expanded scale around the clipping point. VU meters in audio gear are usually designed right this - sensitive to a fraction of a dB around the 0 dB or clipping point.

Now, you don't need to worry about the physics of a violin or a microphone to understand how an VU meter works, and it's the same in a camera. Whether the loudness of a violin is inversely proportional to the hyperbolic tangent of the bow pressure doesn't concern the recording engineer one bit. He just has to know how his meters work.

It wouldn't be a problem at all to design this type of a metering system for a camera, and make it switchable to a more convention type.
 

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