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Re: IQ of Panasonic 14-45 f3.5-5.6 vs. Panasonic 12-35 f2.8
In reply to Mark B UK,
5 months ago
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Mark B UK wrote:
I don't know whether you are deliberately misunderstanding or misinterpreting what I've written, but I will assume not and answer you in good faith.
I assure you, I'm writing in good faith. As I said to Frank, I think the right thing is to call this a day. But, as I said to him, let me mark some points of misunderstanding.
If you want to remove CA from a JPEG you can do it just as easily and in exactly the same way as you would a RAW file, using the same PP software. However, no sensible person would ever use a JPEG file in preference to a RAW one, for two reasons.
I know the arguments for RAW. I mostly chose not do do that. In my personal judgment, for my purposes, that's what I do...for now. It sounds arrogant for you to tell me I am just not a sensible person for doing that. I know you wanted just to make me understand both the technical facts and your point of view. But, I understand the technical facts, and, honestly, do not feel I am not a sensible person for not reading their implications for me the same way you do.
First, as has been pointed out, each edit and save degrades a JPEG considerably, which is not the case with RAW. And second, JPEGs contain very limited amounts of data compared with RAW and hence their ability to have adjustments applied to them in PP is very much less than is the case with RAW files.
I know all this. (Which is why, for example, I never touch my original jpegs when PPing.)
Put simply, JPEG is a very convenient file produced by a camera to be viewed immediately on screen, emailed to someone or uploaded to a website. It is the digital equivalent of shooting colour negative film and getting a commercial processor to machine print the results. The RAW file is the equivalent of the original negative, and putting it through PP software is like printing a negative in your own darkroom.
Someone who tries to PP a JPEG file is the digital equivalent of a photographer in the film era shooting colour negative film, getting commercial enprints produced, not liking the results so re-photographing the prints then trying to change the colour balance, contrast or exposure by reprinting those second-generation negatives. Not only is there a loss of quality but there's also less scope to make changes as original information has been lost.
This is a bit over the top. Some people happen to like the renditions of particular jpeg engines, even going so far as trying to figure out how to reproduce them from a RAW source (precisely to use that as a starting point; obviously with the intention to do more or different processing). These are not crazy people. As I said, I print largish jpegs, and they are plenty good enough for my purposes, and for most of my audiences. HOWEVER, I could not say that with jpegs without any possibility of PP.
I can do a lot with minimal PP to improve what I get SOC JPEG. It is simply not an absurd thing to do. If I regularly wanted to do a LOT of PP, I'd immediately convert to RAW shooting.
In conclusion, f you use an Olympus body and 12-35 Lumix, you will on occasion see CA in your JPEGs. Either learn to live with this, or shoot RAW files and eliminate the CA easily in PP. Shooting JPEGs then trying to deal with the CA is not a sensible plan at all.
This is a judgment I would prefer to make for myself. Plans like this are not objectively good or bad, but depend on personality, history, interests. (If I were interested in purchasing this lens right now, I would CERTAINLY check whether it is worth the money FOR MY PURPOSES. I HATE CA, but my purposes are not as critical as many, so if I could ditch the worst part easily with a click, without changing my work flow, that is a categorically different situation than if I really had to convert to RAW processing in order to get ANY CA correction.)
But, back the the top, thank you for responding in great detail to my questions. I bet the technical information will be useful to more than me.
--
The BoxerMan
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