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EDIT: I took a few photos with the camera settings as the first photo and they all had purple highlights. I also took a few at f/22 1/60s ISO800 and none of them had purple highlights. I'm guessing the difference is due to either the smaller aperture or the higher ISO.

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Highlights are a difficult part in digital photography because the image information gets blown out in highlights rather abruptly, as explained in the question, Why are blown highlights particularly bad in digital photography?

Briefly speaking: any RGB-value can only reach 255 and is capped afterwards, whereas in film a softer transition with more texture in white areas is possible. The linked example explains this for whites, but in your case you have to imagine the 3 RGB color-channels seperately. The area around your highlight can get these colour tints, if individual channels get 'blown out' i.e. capped at a value of 255 before the others.Ken Rockwell briefly touches this subject in his article, Adding Dynamic Range to Any Digital Camera, which might help you fix the problem.

The problem with the raw file is that it is clipped not at highest possible level but at something like 80% of highest level. Any program will make the highlights of such a file pink because of white balance which should be applied (most cameras' photos has strongly greenish tint before correction).

Hi, I love the software, but miss some crutches I often use in other software. I would like to request that I can show/hide highlight clipping alerts in the photo persona. If I push e.g. a levels adjustment too far, I can see where in the image I am clipping, and decide whether I want to back off.

An important place to start is making sure you select photos with the appropriate file type, size, and resolution. We recommend uploading either JPEG or PNG image files to your website since these are generally the most widely-supported image file types.

One of the most prominent photos on your website is the banner photo at the top of the page. To take the best photo for this, we recommend zooming out on your camera or standing a fair distance away while taking the photo. This way, your image will easily fit within the 10:3, width to height crop ratio, and should help avoid distortion.

After mastering the basics, move on to selecting photos that best reflect your community. A great place to start is including snapshots of common areas, like your community entrance, clubhouse, and amenities.

To further showcase your community, we also recommend choosing photos that reflect your community's values. Is your community tied to being close to nature? Display this by including landscape and nature photos on the website. Are you a close-knit, active community? Create photo galleries that highlight lively community events, club meetings, and gatherings.

The placement of an image on your website is just as important a factor as the image itself. A well-placed image can encourage a visitor to stay on your website longer and discover more information about your community. On your website, there are several areas where you can upload and highlight photos of your community to further showcase it.

The homepage is one of the best places to provide visitors with a positive visual first impression of your community. From the banner photo to the rotating photos and YOTM features, this page offers several locations where you can show more about your community. You can additionally upload images to the homepage text, as shown in the example below.

What I think happens is that photographers fairly quickly learn about the clipping mask in their editor. The first thing they are told about the clipping mask is that when it shows up that means their photo needs work and the best way to do this is boosting the shadows or dropping the highlights.

This creates a conflict, because a beginner is trusting the software and their teachers over what they can plainly see in the resulting image; Gray open windows in an interior photograph, a gray sun in a landscape, or gray specular highlights shining off a car.

Lastly, one other area that commonly gets reduced to gray are specular highlights. These are the bright, flashy, sparkly reflections that come off reflective surfaces. This one is easy, because if you see these in an image, you know to always leave them as pure white. Even in person, these bright reflections are blinding to look at and are hot white.

Yup, first time I used the zebra thingy in camera, I would expose until I don't see zebra lines. I thought that would be exposing to the right of the histogram. Now I use the zebra feature to put highlights where I want them to be.

Yes, and sometimes it's impossible to use a light meter like when the top of a mountain has sunlight hitting it and the lower part is shaded by clouds. By the time I get to the top of the mountain then back to the camera, the light would've changed. I agree that you just have to keep experimenting to know the limits of your sensor and what can be done in post to improve the shot. The zebra feature is good. Even when it shows up, I see that my histogram has lots more room to spare at the right. So I just use it to kinda have an idea where the highlights would fall.

In Matrix mode the nominal exposure according to a light meter is far from the ideal ( for quality and details ( highlights & shadows ) capture.

No light meter ( unless set to ) exposes to the right, nor any camera.

I don't use Lightroom, but Darktable, and I've been using the Levels module to increase contrast and not have shitty grey highlights. I first adjust the base curve, then the tone curve, then the levels. Only sometimes do I use the shadows/highlights module. The base curve should be used to pull out details from the shadows/highlights, and make the image flat. The tone curve should be used to make it pop more. Then the levels should be used as the finishing touch, in terms of exposure. Then I like using specific modules for colors, then adjust the sharpness/noise reduction using various modules.

One of my favorite tricks to recover a sky more evenly is to use a radial filter around the sun with a 100 feather to lower the highlights of everything but the sun. That usually brings down the rest of the sky enough to get some color (especially on a cloudless day) but leave the sun bright like it should be. The feather allows me to drag the filter out from a sun a bit to get a gradual falloff of light so it doesn't look unnatural. That's probably been one of the simplest solutions I've found for dealing with it.

Due to intensive retouching I sometimes need to change the highlights or push the shadows with AP - before I have done this in LR, but I noticed that LR is much better than AP. Enclosed an easy example of a Nikon D750 Raw-file where the clouds in the sky are not visible neough and the shadows in the green fence are to dark. With LR the change is quite easy with 2 sliders and with AP I cannot get a similar result - contrast of the picture is changing to a strange look when I push shadows more or try to get out more of the highlight. (NEF-file was opened directly in AP and LR , but when I use AP as an external editor of LR the behaviour is the same - i thought it has maybe something to do with .tif or .psd file Format, but the main reason is within AP)

Overall it is not a problem at all, because I can do the highlight and shadow changes in LR, before I use AP as an external editor. But I thought that abilities that are in LR since many years are a standard also for other photo editor or raw converters - but it seems thats not the case. If you have any idea how to use AP better, please let me know. I understand that with advanced editing with masking and layers I can maybe get the same result with AP, but the easy use of the LR- highlight and shadow sliders safe a lot of time. attached you can aslo find the original .nef-file

I'm not a LightRoom user, so cannot comment on the comparison between LightRoom and Affinity other than to say I believe with a little more effort, a less disappointing result could be achieved in Affinity Photo, based on the photos you posted.

According to this Whitepaper, Adobe Camera Raw does some sort of highlight "reconstruction" that other RAW converters don't do. I have tried AfterShot Pro, Luminar, Affinity Photo and ON1 Photo RAW but none of them can recover highlights like PhotoShop Elements with Camera RAW.

I tried AP(beta) vs LR very quickly. The raw file sky is well overexposed according to Fast Raw Viewer so there are areas on the left side of the photo that will never be recovered. Overall I don't think Affinity recovers any less of the highlight data compared to Lightroom 6.14. Please ignore the lack of sharpening in AP, I didn't go there.

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Is there or will there be a real time highlight warning or zebra stripe type function in the Canon EOS R line, specifically, the R6? I do have a real time histogram set up (for the same purpose) but have not yet mastered the ability to look at it in addition to the other settings when taking a photo quickly. I think the function exists for video.

There is a feature in your manual on P536 that discusses displaying a highlight alter when reviewing an image. It does not apply when actually taking the photo because, as this is a mirrorless camera, the sensor displays what it will get in real time, so you should be able to see when you meter if something is blown out. That was not the case with a DSLR unless one pressed the preview button. 17dc91bb1f