Sunset in Kruger

by MrFrench

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Unfortunately, this is not an out-of-the-box solution, but if you have got some programming skills (mostly, the code should be there already and you just need to know how to run or compile it), you might want to look at American Gothic in the palette of Mona Lisa: Rearrange the pixels from the colleagues over at Programming Puzzles & Code Golf. Your ...


I am using a filter with an optical density of 8 to cut the infrared light so the camera does not detect it. You should be using a filter that blocks IR, but passes visible light. Ordinary neutral density filters work more or less the other way around. However, every other picture of samples emitting blue (visible with naked eye), appear with white ...


A Bayer sensor has red, green or blue filters in front of the individual sensor elements. A point source will only hit one element. A Bayer array cannot determine color in this case. A Foveon sensor detects the three colors at each sensor element. This should work.


I have seen the same problem when photographing a red laser spot, the spot came out white, not red. In my case it was an exposure problem, the small intense dot on a dark background, the dot was severely overexposed.


"Take a RAW photo of a real color chart outside to get a white point of D65" The simple fact that you have a blue sky will contaminate the real color chart with a blue-ish cast... making the following other steps error-prone.


As John states, the camera may be compensating for the monochromatic light, or it could be saturation, if the point is much brighter than the background. Have you tried intentionally underexposing, i.e. set compensation -2 or more EV? Have you shut automatic white balance? You might also include a print of the spectrum in the photo, lighting the paper a ...


I find it helpful (at times) in composition. Color can be distracting both visually and emotionally. Other times, e.g. wildflower photography it helps to be able to see the image in color while arranging the various elements in the scene. I shoot RAW, and I have a camera (Sony a7R) with an electronic viewfinder.


That depends on how much freedom you need/want. Somebody using a large format view camera might be asking a DSLR user how it's even remotely possible to take half decent images with such a limited device. Why would you use a telephoto lens giving up the freedom to crop a wide shot in post processing? And why would anybody take images with a wide open ...


Long exposure astrophotography is often done with a monochrome sensor to maximize the number of photons captured from a faint source. Relatively short exposures with separate Red, Green, and Blue filters are sufficient to color the image, but the longer unfiltered channel provides more detail in the structure of what's being imaged. You can replicate the ...


Yes. If you have difficulty visualizing an image in B&W, shooting in B&W gives you a good approximation of the final image at the time of shooting so you can adjust; many digital cameras can even process B&W with color filters, so if you have a particular type of processing in mind, such as using a red filter to darken skies (ala Ansel Adams's ...


I guess shooting color images is always the right option, 'reversibility' is the key. A color image could be turned B&W, but with a B&W shot, there's no option. We all know that more or less the appeal of a photo lies in the post production, so why not shoot color and then decide. Anyway, there won't be any difference in energy or information ...


There is no benefit to shooting in a monochrome mode as the camera will just be taking a colour image and converting it to monochrome using built in settings. The closest you could argue as reasons to enable a monochrome mode are either to place an artificial inflexibility as part of a creative process or to view monochrome images in the camera display ...


In principle, yes, because unless the camera processing software is written in a very poor way, it will not first do the demosaicing to render a full color image and then use that image to compute the black and white image. Rather it will do a dedicated demosaicing to compute the black and white image directly from the raw data, the two processes are not ...


When using the magic wand tool, set the Tolerance to 0, turn off both anti alias and contiguous and then turn sample all layers on. This will select only one colour across the whole image.


It's because the red channel has completely blown out, whereas the green channel hasn't. (Nor blue but that's not having any effect, here.) Suppose the true colour of the car is five parts red to one part green (the box on the left, below). If you underexpose the photo, you might find that the red channel's running at 50% intensity and the green channel ...


How can this be explained technically? Auto Exposure and Auto White Balance. The camera is trying to expose the image properly, but there's a huge difference in brightness between the shaded areas (most of the scene) and the foreground that's lit by strong direct sun. In order to get most of the image exposed correctly, it has to overexpose the car ...


Looking at an RGB histogram of the image, I'd say the red channel is blown. Hard to get deep reds in bright light, even when the overall exposure is a mid-tone, the reds blow out. I've had many pictures of dark red roses for example that look pink or orange.


My guess is that the phone's JPEG engine is trying to recover blown-out highlights in a way that results in this coloration artifact (as opposed to simply clipping them to white). It's probably trying to work with the color information it has, which would be the red around the overexposed areas, and possibly the yellow cast that direct sunlight would have ...

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