How to avoid lights be blown out when using GHS?

Frisia_Orientalis

Active member
Hi,
I have been experimenting with GHS for some days now, and I have at least an inkling of the great possibilities it offers. However, it is not clear to me how to handle light sections, like the center of the Orion nebula, which gets blown out by applying the first stretch. Is there any "recipe" how to avoid or repair this (if that is still possible after the strech)? Anything that is recommended, or anything that is forbidden?
Cheers
Karl
 

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Hi Karl. The Local Intensity (b) slider is designed to temper the stretch in the highlights - higher b will reduce blow out. Also there is the Protect Highlights (HP) slider reducing this can give further protection. Having said all that, the Orion Nebula is a notoriously awkward target due to the very high difference in brightness across the nebula. It is often helpful to shoot two sets of lights keeping down the exposure on one set so you can bring out the detail in the trapezium area, then blend the two to build the final image. There are several YouTube videos offering help with this target - eg, try searching Adam Block Orion Nebula on YouTube.
 
Hi Karl,
Just to add to what Mike says....
GHS was designed to maintain data integrity in image stretching. Part of this was to ensure that rank order of pixel brightness was maintained. (In math speak, the GHS transform is a conformal mapping function, rather than a relation, but don't worry if you don't know/remember the difference - it simply means the data remains sound, rather than altered for visual appeasement purposes).
In the case of the Orion Nebula, the Trapezium is likely the brightest part of the image - even in linear form. When going to non-linear with GHS (or with Histogram Transform for that matter), the Trapezium will remain the brightest part of the image. This means ultimately, if you make the darkest pixels brighter, the brightest pixels will have to get at least a tiny bit brighter too. GHS was created to do the best job possible of maintaining data integrity while allowing you to have contrast and brightness to make out both the brightest details (the Trapezium) and the darkest details (background dust).
Having said that, there are a lot of ways you can "trick the eye" to make the Trapezium still "seem" the brightest, and making the distribution of contrast different so that your eyes/brain are fooled into thinking there is more dynamic range than there really is. Local Histogram Equalization takes advantage of the fact that you can't really compare brightnesses of distant pixels - local contrast is created by reducing larger scale contrast. Similarly, wavelet functions remove contrast (generally) from larger scales and puts in smaller scales. These are all fantastic processes, but you are compromising data integrity (usefulness for direct/scientific comparisons of objects and surroundings) for the sake of a nice image.
Typically HDR processes (eg. HDRMT, HDR integration) are concerned with both the data capture (getting signal from darkest parts of the FOV, while not saturating the brightest parts) as well as display concerns. Often these are the best techniques for displaying details (with contrast) of the brightest and darkest parts of the image simultaneously. However, there is no going back, once applied you are done and have firmly crossed the line from science to art - not that it is a necessarily bad thing. Also, most of the time - who cares?
GHS is burdened by maintaining data integrity, but at the same time maintaining data integrity allows for repeatable application / invertible application without losing information. It does the best a process can do without tricking your brain.
Hope this helps, most of the time a combo of HDR techniques and GHS will yield the best results.
Dave
 
Mike, Dave, Thanks, especially for the "function vs. relation" thing, which somehow reflects "science => art", and at the same time also points to "global vs. local" transforms. Never thought about that - but it seems to me a crucial general topic that helps understanding the overall background of many procedures.
 
A trick i’m using to apply GHS is: play with a to get the faint signal visible to your liking (It will blow the highlights) and only then increase b until the highlights get back to what you want.
This is contrary to many of the video tutorials I could watch here and there.
With this approach, I feel in full control of GHS.
As Mike mentioned, use HP to avoid blowing out stars if needed, although I seldom have to use it with my « technique ».
Rodolphe
 
Rodolgo, Great trick and thanks for sharing. Different imagers use different tricks - whatever works for you. The way I use GHS and land on the parameters is changing with time too, and these suggestions are helpful.
 
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