![]() ![]() The math goes like this: 8 bits x 3 channels = 24 bits of data for each pixel. There are 256 gray values and 256 RGB color values for each channel, resulting in 16 million possible color choices.Īnother way to look at images with 8 bits per channel is that they are sometimes recognized as 24-bit images given the three tracks. For example, if you know you’re only going to be using black and white with stark contrast, a depth of 1 bit can work well for this simplistic approach.Ĩ-bit is perhaps better understood in Photoshop as the color mode of 256 uses. What it ultimately comes down to is what type of design you’re shooting for, and it doesn’t always need to be 16-bit. One crucial tool hindered by this mode is the Art History Brush tool, as the program can’t handle such a powerful brush on such detailed images. There are also limitations on tools that can be used in 16-bit mode. Twice the colors mean apparent noticeable twice the memory. While this may not be an issue for small images or those with low resolutions, this is crucial to be mindful of for more extensive and more color-dense images. It should also be apparent when dealing with more colors, but the upgrade of bits will be more taxing on your memory. The filters ultimately depend on how much detail you have going for your design and how capable the filters can support such a wealth of hues. There’s a restriction in just what types of filters you can use in this color mode. Flaws of 16 Bit Modeīut there are also some drawbacks to going 16 bit. ![]() This difference may seem obvious given the aspects previously listed, but it can sometimes be beneficial to see just how the two modes differ in a more visually noticeable way. This difference is due to how much more information is coming through with each mode. Notice how in 8-bit mode the spikes are further apart and that in the 16-bit mode, they are closer together, appearing more like small waves than pointy fences. If you want to see a clear difference, simply look at any histogram of color or levels within Photoshop. The range that color can span in a gradient is limited within the 8-bit mode, but 16 bits grants a vaster array of transition to make the fall-off of colors more fluid and less distracting. You also have the benefit of having more colors to work with in terms of gradients. If the images you’re handling have a lot of color to them, a 16-bit environment will be able to read more colors and present them far better than that of 8-bit. The other thing to consider is just what type of source files you’re working with. So if you know you’re going to be working with images that require specific colors to pop or be toned down, you’ll find it easier to do when there are fewer data lost in this mode. It’s better suitable if you intend to do a lot of color correction. There are a few pros to working in a 16-bit color mode. But this subject is about more than just ensuring your design doesn’t turn out like an old-school Nintendo game. ![]() The knee-jerk response to which color mode is best would seem to be 16-bit, right? That’s more than 8-bits, and you want lots of detail for your project. Photoshop 8 bit vs 16 bit: Are More Bits Better? One’s mind may even be drawn back to the 1990s console war with such talk about which video game system had the better graphics. It seems like an aspect that isn’t questioned as much. After all, the last thing you want is a large image for an online graphic or RGB for a print job.īut there’s another aspect to Photoshop’s color modes that one may not consider as much: 8-bit versus 16-bit color modes. ![]() While Photoshop is capable of many projects, ranging from raster graphics to video assets, one does have to question which aspects of the program would benefit them both. Photoshop 8 bit vs 16 bit: When To Use Which Mode?.Photoshop 8 bit vs 16 bit: Are More Bits Better?. ![]()
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