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<blockquote data-quote="aroy" data-source="post: 441469" data-attributes="member: 16090">Highlights are blown when the sensel over saturates, that is the individual sensel of the sensor is full, and still photons are coming. After the sensel is full, if more photons come, there is a tendency for the photons to overflow into adjacent cells (unless the sensor is designed to prevent this - non existent in commercial designs). This is what gives the Green/Blue or Red tinge (depending in which direction the excess photons went) at high contrast regions. Of course if the lens has a lot of CA, that will also give coloured tinge to the edges.I have observed this fringing when one side of the high contrast line is highly over exposed, and a search of the net gave the &quot;overflow&quot; explanation. To check the theory, all that you have to do is to take a few shots of high contrast areas. One at your normal exposure on the object. One where the exposure is set for the brightest light (usually beyond the edge of birds/flowers. A few with -0.3, -0.6, -1 etc exposure compensation for the brightest area.A stable object like a dark fence/tree limb against bright sky, would make the task simpler.</blockquote>

[QUOTE="aroy, post: 441469, member: 16090"] Highlights are blown when the sensel over saturates, that is the individual sensel of the sensor is full, and still photons are coming. After the sensel is full, if more photons come, there is a tendency for the photons to overflow into adjacent cells (unless the sensor is designed to prevent this - non existent in commercial designs). This is what gives the Green/Blue or Red tinge (depending in which direction the excess photons went) at high contrast regions. Of course if the lens has a lot of CA, that will also give coloured tinge to the edges. I have observed this fringing when one side of the high contrast line is highly over exposed, and a search of the net gave the "overflow" explanation. To check the theory, all that you have to do is to take a few shots of high contrast areas . One at your normal exposure on the object . One where the exposure is set for the brightest light (usually beyond the edge of birds/flowers . A few with -0.3, -0.6, -1 etc exposure compensation for the brightest area. A stable object like a dark fence/tree limb against bright sky, would make the task simpler. [/QUOTE]

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