![16 bit black and white tiff in on1 photo raw 16 bit black and white tiff in on1 photo raw](https://thumbs.dreamstime.com/z/tower-bit-coins-hand-vector-cartoon-outline-illustration-coins-tower-holding-human-hand-black-white-concept-109595705.jpg)
![16 bit black and white tiff in on1 photo raw 16 bit black and white tiff in on1 photo raw](https://thumbs.dreamstime.com/z/bit-font-capital-letters-all-d-render-illustration-isolated-white-background-68588271.jpg)
Think of it this way: exact image control is about the preciseĬontrol of tones, locally and then generally. But that belongs to a slightly different discussion. Using a smaller colourspace such as sRGB, 8-bit is a good fit in terms of colour discrimination. If one decides to use a large colourspace such as ProPhoto, I personally would twin that with 16-bit 8-bit might 'stretch a bit thin'. However, if you are going into Photoshop in order to quite radically play around with and enhance the image, then you would probably want to continue working on smooth 16-bit tones and hues, at least for the moment. If you have completed your main tonal and colour adjustments internally within LR (working in 16-bit), and are only going to make some minor tweaks or pixel-rearranging in Photoshop, then 8-bit is (IMO) generally fine for that part of the process. There are many different opinions and ideas on this subject, but I think there is some consensus that 16-bit working is beneficial when making strong image adjustments. You can set it up for 8 or 16 bit TIFF or PSD, as well as choosing between several colourspaces (Lightroom's own internal colourspace is ProPhoto which has an extremely wide colour gamut). The image automatically re-imports afterwards, back into the Lightroom catalog, as a second image next to the original. I am not sure if you are aware of this, but Lightroom lets you directly open an image into Photoshop, using a simple "edit in." command or keystroke. Making multiple edits and saves in Photoshop. This is potentially a horribly destructive bug to Phase One shooters using Capture One, because without redundant untouched backups of the work that they're trying to open, this bug could lead to losing access to their raw images forever, at least to the extent of the deep RAW information contained in the Phase One format file that Adobe Camera Raw doesn't read or have access to.I've learned not to export my RAW files as JPEGS if I'm going to be These altered RAW files appear to be wiped of image information as I cannot open the session on a Yosemite computer and regenerate the thumbnails or process files out to any format including PSD or JPG that results in anything but an absolutely black file. In the case of Client B, he has no ability to make use of images that had been shot into a previous version of Capture One because the mild database conversion to the new version inspires a re-generation of thumbnails which overwrites them in black where there were unique previews before and ALSO alters the RAW file.
16 bit black and white tiff in on1 photo raw zip#
I had him zip the converted session and when I opened it in Yosemite, the IIQ’s (raw files) were actually black as seen in either Capture One 9.2.1 or even in the finder, but for some reason Adobe Camera Raw could see the images. Migrating Capture One-7 sessions to Capture One-9 and all the thumbnails are black.
![16 bit black and white tiff in on1 photo raw 16 bit black and white tiff in on1 photo raw](https://thumbs.dreamstime.com/z/chocolate-chip-cookies-vector-illustration-4577194.jpg)
Sent them to me and they look fine on my 27" iMac running Yosemite. Processing out 16-bit Tiffs and they all appear black to Preview. I've had two clients late last week have problems with this bug, one of them far worse than the other. Worse than a TIFF that just won't preview on your system, this bug is corrupting entire sessions (shoot project folders) in Capture One. This phenomena is not limited to only the TIFF format but also the IIQ format raw files that are the basis for Phase One digital camera backs.