![]() Selective pressures have favored conspicuous coloration across a wide variety of taxa. © 2007 The Linnean Society of London, Biological Journal of the Linnean Society, 2007, 90, 211–237. These guidelines include how to: (1) linearize the camera’s response to changes in light intensity (2) equalize the different colour channels to obtain reflectance information and (3) produce a mapping from camera colour space to that of another colour space (such as photon catches for the cone types of a specific animal species). ![]() In the present study, we set out step-by-step guidelines for the use of digital photography to obtain accurate data, either independent of any particular visual system (such as reflection values), or for particular models of nonhuman visual processing (such as that of a passerine bird). Unfortunately, many studies utilizing digital photography appear to be unaware of several crucial issues involved in the acquisition of images, notably the nonlinearity of many cameras’ responses to light intensity, and biases in a camera’s processing of the images towards particular wavebands. Not only do digital photographs provide a method of quantifying the chromatic and achromatic content of spatially complex markings, but also they can be incorporated into powerful models of animal vision. ![]() Digital photography has many advantages over other techniques, such as spectrometry, for measuring chromatic information, particularly in terms of the speed of data acquisition and its relatively cheap cost. With the ever-increasing power and availability of digital photography, many studies are utilizing this technique to study the content of animal colour signals. That's your digital negative.In understanding how visual signals function, quantifying the components of those patterns is vital. Of course, only convert when you are certain you are finished editing the photo. Aperture's search tools can quickly identify large PSD files, and I suspect Lightroom can as well. Other steps you can take to cut down on storage usage is cull images and get rid of the cruft early in workflow. I occasionally do this for "lesser" images, but it's rare. That will save 50% or more compared to 16-bit.Īlso, if you need to reap disk space, you can convert a stylized image to a high quality JPG and eliminate the PSD. If you are tight on storage, a compromise is using 8-bit PSD. I choose the flexibility of being able to re-edit at any time over the storage uptick. I use 16-bit PSD. I keep the PSD files for my very best work. The major question I've been asked is "How do you manage these large files?" In short, I ignore the file size. Storage is relatively cheap and file sizes won't prevent me from using the tool chain that will get me the best results. There's more numbers and breakdowns below. the disk space savings is an added benefit. You'll save ~15% storage space. I use Smart Photos for the re-editiability feature. Smart Photos produces smaller PSD files for what I'd consider a typical editing session in Suite 9. Use Smart Photos, it'll save you storage space. can Smart Photos reduce file size since it's storing instructions on how to change an image versus actual pixel changes? EXECUTIVE SUMMARY PSD files are notably larger than RAWs or JPGs. As more and more of your photos go through the Perfect Photo Suite, storage space may become a concern. I became curious. I've received several questions about managing large files. I've been meaning to do this comparison for a while.
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