Raw is better how? 2

timpa42

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Ok after reading all the replys, 150 of them the limit for posting I post it here.

Now I've giving this much thought, it seems silly that people are of the mind. That war is so much better then jpeg, and I'll give some of my thoughts on this after much thought.

First the raw file has all data bits in it, some of them are junk bits that are of no use. Other bits are very useful to get a better image, now recovery of all the data bits is another story. First and for most is the cam makers built in program, to make the most of the raw bits. When you use jpeg the built in program, uses the raw file to make the image.

The built in program dos in fact use a raw file info to make the jpeg, it converts it in cam then let the raw file drop. And saves the jpeg image made from it, now cam makers got a pretty good program to do this. They know what info is good and what info is needed, and leave out the junk bits that not really needed.

There for the key word here is leaving out the junk bits, I'm sure makers don't really leave out good info. That is needed to make the best image for the jpeg, after all that would be pretty silly and self defeating in the end. They want the cam to get the best shot they can, jpeg is a compression not a program to make use of the bits of data.

Now as I said I'm pretty sure, the only bits the in cam program drops. Is ones that are of no use to the image, after it convert the info left it compress that info into a jpeg. With a raw file you use what ever software you want, and it has set default in most cases. To use the raw file bits to convert it to a image, like photoshop and other programs.

Now lets take photoshop, it gives you a interface to make setting changes using the bits. Even raw files have some compression, but it made to not lose any of the bits. I'm sure very little is lost using the in cam jpeg compression, but yes it does have some lose. Now I'm sure even the raw files, have the in cam program drop bits that are not useful at all.

There for I'm sure the jpeg and raw files, wind up having the same info less the jpeg compression of course. What photoshop does for you, is give you direct comtrol interface for war files. Once you take default setting for a raw file, or make some adjustment to it directly. It then opens in under photoshops indirect interface, that is the interface is such that if you change a setting.

It will also indirectly change some other setting with it, this is not the case with the raw direct interface part. There you change one setting at a time, this also make it look like, you got more power over the image then next interface. What it does mean, is that you can lets say push the exposure make easier. Because it's not change any other settings, where as the next interface changes other setting with the exposure.

Making it header to push the exposure, till it becomes a problem because of the other settings. That make it look like raw is way more powerful, then it really is one could do the same thing. If you work at it inside the other interface, but you need to know what you are doing. With raw you can work in 16 bits, under the 2nd interface and the help just a little. You can change a jpeg to 16 bit as well, and gain much of the same thing back.

Now photoshop is using the same info, from jpeg or raw files with just a tiny bit lost with jpeg compression. And just a little bit from being 8 bit instead of 16 bit, but you can still get mos of that back by changing to 16 bit. But really it's not that much info bits lost, the biggest difference is in the interfaces. And how it handles the changes you make, not as much how much more info bits are being used. If you can recover stuff in the raw interface, you can recover most it in the 2nd interface.

But really you would be shocked, how much some one that knows how to use photoshop. Can recover using a jpeg and the 2nd interface, yes it's much easier wit hthe raw interface. But that does not mean raw files have so much more info, because that not the case at all, it has very little more info over a jpeg. Raw and jpegs, are simply a compression that is used to handle the same files is all. It's not that jepgs, throw out all the good info at all it loses only a little bit to the compression is all.

So a jpeg uses a raw file bits, to make the jpeg and compresses it as it converts it. And the in cam settings, are the direct interface just like photoshops raw interface. When you looks at it like this, you can under stand why some people like jpeg over raw. So it's more or less like this, they feel it's better to make direct settings in cam. And that the space and time saved is worth it, and if need be can do some work in photoshop. To fix some problems with the jpegs, so very little real data is really lost using jpegs.

I'm pretty sure I got this stuff right, but of course I could be wrong on some of it. So if I'm wrong on some thing, I'm sure some one will be nice and correct it for us.

--
My psig photos
http://www.photosig.com/go/users/userphotos?id=169695
Free Fun Arcade Games
http://www.arcadegamester.net
 
--

The greatest of mankind's criminals are those who delude themselves into thinking they have done 'the right thing.'
  • Rayna Butler
 
Let's pretend that the camera is able to save only 'valuable' bits and throw away only 'junk' bits. I am pretending here because that is frankly impossible to accept as a general rule, but let's accept it for the sake of the argument.

The RAW file of a 1DsII is 12 bits. Jpeg is 8 bits. I can see the difference in shadows between an 8 bit conversion of a 12 bit RAW file and a 16 bit conversion. That alone tells me that the shadows of a camera-produced jpeg with my 1DsII are subject to more apparent noise through banding and posterization. That alone is worth the effort to capture in RAW and convert initially to 16 bits before making final delivery of the file as an 8 bit TIFF.

Once more cameras move to 14 bit RAW formats then that difference will be even more pronounced.

--

'We spend all of our lives pushing the buttons and pulling the levers found on the front panel of reality. How can we be so certain that there is also not a rear panel... one that only God can reach, and when He does flip an unseen switch or turn a dial that is out of our reach we see it as a Miracle?' JR
http://www.jimroofcreative.com
 
What you fail to recognize is that "JPEG is a lossy compression technique used for full-color or gray-scale images, by exploiting the fact that the human eye will not notice small color changes." It operates on the assumption if two adjacent pixels are close to the same color, and brightness the eye won't notice if the colors are blended into 1 color. It is not debateable that data is discarded in a JPEG for the purpose of making the file smaller.

It is also a given that JPEG compression introduces artifacts (8x8 blocks) into the image as a result of the compression which become more apparent when the same image is compressed multiple times or lower than the highest quality settings.

Even if you assume your camera's processing chip(s) can convert the image acceptably, unrecoverable image data is discarded when the file is compressed as a JPEG. Each time that file is opened AND saved in JPEG say for post processing (curve corrections, rotation, cropping) the remaining data is once again run through the compression process, resulting in more data loss even at the highest compression settings. Some labs will pre-process the images prior to printing which means another iteration of JPEG compression before it goes to print. That's potentially at least three passes through the compression algorithm before the output is delivered or printed, do you honestly think there isn't an impact to image quality?

Do the test for yourself, take an image in RAW or TIFF, and then save it to JPEG, open the JPEG, rotate, and save the image in JPEG multiple times, then compare the results. Not only will you see JPEG artifacts you will see a significant reduction in color saturation. If you use less than the highest quality setting you will see these effects in even less save iterations. If you do it enough times, a perfectly saturated color image will turn grayscale with ugly artifacts.

Regardless of how "great" a photographer one is, JPEG is a lossy compression and impacts your image quality, the nature of the algorithm guarantees it. Not to mention that you are trusting your camera to make all the decisions as to what data is discarded in the first place.

The best images originate in RAW, and are processed as PSD or DNG images until the final client file is created in JPEG.
 
I have a hard time reading through your broken grammar, but for the sake of argument, RAW is better than jpeg in terms of quality and information retained.

However, because of time restrictions, I shoot everything in JPEG for my job.

For personal projects and fashion shoots, I shoot RAW.
 
I have done that test numerous times. There isn't nearly enough difference to warrant several times the data bandwidth, unless I know the person can not get exposure right within reasonable margin. The biggest killer in image quality is the printing process, that and the observer's visual accuity. Both toss away far more data than the JPEG compression process. It's like comparing cars with 2000hp vs. 2500hp when the transmission can only handle 500lb-ft, and the tires are only W-rated. The difference in engine power at that extreme is quite pointless . . . little of the difference can be put to the ground.

Since you are such a stickler for the theoretical maximum quality of capture, why aren't you taking every shot using large format film? Percentage-wise, the anti-aliasing filter and the Bayer filter each toss away far more data than JPEG passes. So why don't you? The answer is quite simple, there are far more important factors in play for the pro than the theoretical maximum capture quality.

Have you ever wondered whether the JPEG from a 1DsIII preserves more detail or the RAW from a lower Nyquist frequency camera like 1DIII? (or 1DsII JPEG vs. 1DII RAW, 1Ds JPEG vs. 1D RAW). JPEG is a great tool for maximizing the efficient use of a given bandwidth.
 
If the final output is the same 8bit, conversion in one step or two steps from 12, 14, 16, 18, or 1000 bit original data should be the same . . . unless you have to adjust the curves etc. in between. The difference you see is entirely dependent on how much adjustment you have to make in that mapping. In real life, the paper prints are usually less than 8 stops. Posterization/pixel-clumping is a matter of how many capture pixels are being combined to make one print pixel vs. the average radius of "clumps" in the "curved" file.

All the talks about the maximum theoretical quality is rather intriguing. I suppose large format film makers are doing fabulous business, and NASA too selling their 200megpix cameras to some of our pixel peeps here.
 
Storage is cheap, untill you hit a size several times the largest hard drive capacity on the market at any given time. Then the cost of storage becomes dominated by the bandwidth between servers as you try to keep them synchronized and backed up. You do realize, I hope, the purpose of storage is reliable retrieval. Fire and forget is not exactly a feasible business model for a professional organization.
 
To say the .jpg processing only throws out the junk data really misses the mark. It's kind of like assuming the auto exposure will always get it perfect. The "good data" is pretty much subjective, and thus in the eye of the photographer.

Regarding post processing, simply shoot RAW + jpg for awhile, then when it comes time to post process work on both files and see which you prefer for the final output. The better I get with photoshop, the more I've come to appreciate RAW.
 
In the previous thread on this topic, nanook was claiming that RAW wasn't anything more than a "crutch" used by photographers who lacked metering skill, and he cited the following reasons for why we shouldn't use RAW, specifically aimed at wedding photographers, in response to my wedding photo example showing the benefit of RAW here: http://forums.dpreview.com/forums/read.asp?forum=1014&message=25574333

This is what nanook wrote, and this is now my opportunity to respond (since I was not able to respond before the original thread maxed out):
The "crutch" is not entirely free, it has at least four pitfalls:
1. Affect frame rate on many camera models; this is actually relatively minor for Weddings;
Really? I can't think of any DSLR that has a different frame rate for RAW shooting than it does for JPEG shooting! That's total BS. Please name these "many camera models" that have a slower frame rate when you choose to shoot in RAW! Now, if you're talking about buffering capacity, most cameras (at least those that would be used by most professional photographers) have very generous RAW buffering capacities. A Canon 1D MKII, for example, will buffer 20 RAW frames. Heck, even an entry-level Rebel XTi will buffer 10 RAW frames, which is pretty ample for all but the fastest shooting, and plenty sufficient for typical wedding shooting. But even nanook admits that his #1 "pitfall" is "actually a relatively minor for wedding." LOL. Bogus pitfall.
2. Frequent card switching forces down-time, when imporant things could be happening; this is more important;
Really? Ever hear of film? We used to have to change film every 36 shots! And we still were able to catch everything we needed to capture during a wedding. These days, with digital, using 2GB or 4GB cards, you shoot a couple hundred RAW shots between every card change. Before the beginning of every wedding ceremony, I load up all my cameras with fresh 4GB cards, which will EASILY last an entire ceremony of RAW shooting without a single card change. And even when I do need to change a card, it takes just a moment...a fraction of the time it took to change film (which required rewind time, in addition to the loading). Furthermore, it's the responsibility of every photographer to know if he's got enough capacity left on his card to get him through any particular sequence of shooting. This doesn't matter if you're shooting JPEG or RAW. So this is just another bogus "pitfall".
3. Large number of used cards pose data security risk, especially when switching is in a hurry; the risk of being misplaced, lost or stolen increase dramaticly as the amount exceed what can be securely and safely placed in suit chest pocket, without falling out when bending over :-) yes we do bend over for our clients. And I insist on lead photographer keeping all used cards at all time, at weddings.
This is another absurd "pitfall" because, if you lose a 2GB card full of JPEG's, you'll actually lose MORE images than if you had lost a 2GB card full of RAW files! In fact, you'll lose a lot more images. So with every card you lose, the "data security risk", in terms of numbers of images lost, is actually greater with JPEG's on a card of a given capacity than it is with RAW! Furthermore, if you're inept enough to not have a system to ensure that you don't lose memory cards, you should just get out of the business. It doesn't matter if you are talking about RAW, or JPEG, or film.

Yet another bogus pitfall.
4. Backup and archive nightmare. This is a real biggie when a studio captures 200k-300k frames in a year, given current storage technology. Storage technology will improve, but so will pixel count and the business growth itself. As storage volume necessitate more and more elaborate setups, the risk of data loss also increase.
If I shoot 2000 images for a wedding, I certainly don't deliver 2000 images to the client. I edit down considerably, and that's what I present to the client. The other images will never be seen by the client. So there's no point in archiving images that the client never sees, doesn't know exists, and therefore will never even ask for. Furthermore, of those selected images, you certainly don't have to archive the RAW files. Just do the color corrections and image adjustments, taking advantage of the flexilibility and depth of image data that the RAW file offers, and generate pristine first-generation finalized JPEG files, then delete the RAW files. In the end, you get the best JPEG's possible for any given shot, and your archiving requirements are THE SAME if you had shot JPEG to begin with. So it's a bogus "pitfall" that you're claiming. Furthermore, you can selectively archive only particular RAW files that you think you might want to keep for future re-processing. And finally, if you think archiving digital files is such a burden, it is infinitely better than archiving film. Just imagine the storage requirements of 300,000 film images every year. If you aren't even up to the task of archiving digital, which is a lot easier and takes of far less space, just get out of the business now.
Now, set against these trade-off's, is the minor additional exposure adjustment available through RAW really worth it? For some of my assistants, yes, but not for me.
Well, considering that these so-called "trade-offs" don't hold any water, the additional exposure adjustment available through RAW really is worth it!!!!
 
Hey guys, 150 posts +.

When you figure out which is better to use all the time. I have some assignments.

1. What is the best religion?
2. Are Nikon and Canon cameras really the same?
3. Should abortion be legal.

Seriously. If something works for you use it. I shoot both, not at the same time, either JPG or RAW, WHY? because I can.

--
BrianH
 
Storage is cheap. There is no barrier. If your 750GB HD fills up you buy an external 750 with USB interface..and another..and another. They are about $300 each.

I shoot RAW because its full information. JPEGs are OK but the compression is not the only problem with JPEGs. To me the 8 bit depth is a bigger problem. It restricts your color resolution. For the larger gamats/color spaces the problem is worse because your spreading the 8 bits over a larger color range. For 8 bit computer display its not a problem but for printing with large gamet pigment inks it is. All the other formates such as TIFF, PNG etc produce much larger files then but have no more information then the original RAW file. With the new 12, and 14 bit cameras jpegs limit to 8 bit per channel will become a bigger problem.
--
Ken Eis
 
What you talk about as differences in cams, is because of different sensors not data bits. If they had the same sensors it would have the same data bits, any giving cam sensor will have the same data bits.

And you may have noticed, the finished raw res is normally just a bit smaller then sensors res. But it uses the same raw data bits to make jpegs, I do believe the just of what nanook said, is right on the money as that little bit lost. Rally does not mean that much at all, just the fact that jpegs are used by most pro's is very telling.

The printers don't ask for RAW files, but they all can use jpeg, most pro's give jpegs. Where it really does matter and the best is needed, tiff is use not raw but that not the case much. To where cam makers have built in tiff, a few have but the files are very large in tiff. And I do think nanook is right, the different can not be used but by specailized stuff.

The fast is you all are right, when you say raw is better if you want to work, on settings after the fact. And some people want to do their, direct interface settings in cam. Where I first looks at my raw file, there only default in cam settings. It's looks dull to I start setting things, or just let photoshop set it's default settings.

When you shoot raw+ jpeg, it's clearly show raw has min settings used for it. The jpeg looks much better, because the in cam direct interface settings are used. The in cam settings, are used on the same raw data bits then converted to jpeg. If you have raw and jpeg, and you let photoshop set defaults then save to jpeg. Both jpeg images are the same, you will not see any real difference between them.

As always though I'm no expert, so anyone can correct me if I'm wrong on some thing.
--
My psig photos
http://www.photosig.com/go/users/userphotos?id=169695
Free Fun Arcade Games
http://www.arcadegamester.net
 
When you shoot raw+ jpeg, it's clearly show raw has min settings used
for it. The jpeg looks much better, because the in cam direct
interface settings are used. The in cam settings, are used on the
same raw data bits then converted to jpeg. If you have raw and jpeg,
and you let photoshop set defaults then save to jpeg. Both jpeg
images are the same, you will not see any real difference between
them.
Yes, at standard settings, a RAW converted to JPEG will look as good as a JPEG straight from the camera, assuming you're using similar conversion software. But it isn't just about settings. Take a RAW file and give it a lot of minus exposure compensation. Then do the same with a JPEG. See the difference? The JPEG falls apart pretty quickly because it has so much less data to work with. Then take a RAW file and give it a lot of plus exposure comp. Do the same with the JPEG. See the difference? Again, the JPEG handles it a lot worse. Again, it's because the JPEG has so much less data to work with. When you do this exercise, that's when you really see the difference between them. And RAW conversion softwares that have highlight recovery and shadow fill functions exploit this RAW data advantage to allow you to pull back highlight regions and pull up shadow regions with far better results than you can with JPEG, often revealing image detail that a JPEG file no longer exists with the cooked-in JPEG. With a JPEG file, you can brighten pixels or darken pixels, but a RAW file goes beyond that. The RAW file has the advantage of accessing the uncooked image information (the raw ingredients, if you will) to do its rendering, whereas a JPEG file is limited to the already-cooked information to work with. It's like the difference between cooking with left-overs, or reheating something that is already cooked, versus starting with fresh, un-cooked ingredients.
 
Hey guys, 150 posts +.

When you figure out which is better to use all the time. I have some
assignments.

1. What is the best religion?
Pastafarians
2. Are Nikon and Canon cameras really the same?
Don't be silly. Nikon have a small red triangle and canon have a direct print button!
3. Should abortion be legal.
Of course. Legal abortions will annoy the catholics, which is good.
Seriously. If something works for you use it. I shoot both, not at
the same time, either JPG or RAW, WHY? because I can.
You can shoot both at the same time. Which is fpretty cool considering how amazingly backwards everything was only 4-5 years ago (some'd say 4-5 minutes)!

So do it!

Cheers

--
Anders

'It is nice to be important but it is more important to be nice'
 
( But it isn't just about settings. Take a RAW file and give it a lot of minus exposure compensation. Then do the same with a JPEG. See the difference? The JPEG falls apart pretty quickly because it has so much less data to work with. )

This is only part true, as I said before it's mostly a matter of interfaces. While the raw interface works direct on the image to make changes, the 2nd interface used for jpeg, changes other things at the same time. When you make changes, in most cases you can do the same thing with a jpeg.

Only it's becomes harder in the jpeg interface, because you then have to make other adjustments to do the same thing. Meaning if you know what you are doing in photoshop, you can get the same thing as you can with raw from a jpeg. Only it takes more work, and know how then your going to get pretty close.

I do under stand what you are all saying, and I shoot all raw my self for everything. I don't mind picking out the shots I want to work on, then I'll work on them for the very best I can get. But I have some old shots in jpeg, some of them was washed out not much details. Taken with my old E20N, and have worked on them in photoshop.

And you would shocked how much, details I can get back from the washed out photos. I'm sure it's very close or the same as raw images, the biggest difference I see is that raw make it easy. With it's direct interface, the jpeg interface it can be done. But you must keep making other adjustments, as it changes other setting as you change one setting. With raw you change only one thing with one setting, it's direct setting changing.

So I'm pretty sure what you call data loss, is more about interfaces then real data loss. So if a person is not going to do much to their image, but defaults then using raw gains them very little. And in a world that uses mostly jpeg, then I can see where some would like jpeg more.

Now if you know your going to want to work them, then raw makes it so much easier to do that. And it's the only good choice, am my self I don't want to do tons more work. And take tons more time to do that work in photoshop, so raw is my best choice hands down. But that is not the case with everyone, that the point we are trying to make.

Again I'm no expert, and people are free to correct anything if they want.

--
My psig photos
http://www.photosig.com/go/users/userphotos?id=169695
Free Fun Arcade Games
http://www.arcadegamester.net
 
UPDIG is the recommended resource for image gatherers and image purchasers. It is an association of numerous creative groups; photographers, artists, retouchers, pre-press, etc., etc.

Here is the 'quick guide' to UPDIG protocol for image workflow with digital gear. In case you want a hint, it is basically shoot RAW and deliver TIFF. But for those of you with thick skulls, here is the guide - http://www.updig.org/guidelines/quick.php

Argue with them. Not me.

--

'We spend all of our lives pushing the buttons and pulling the levers found on the front panel of reality. How can we be so certain that there is also not a rear panel... one that only God can reach, and when He does flip an unseen switch or turn a dial that is out of our reach we see it as a Miracle?' JR
http://www.jimroofcreative.net
 
( But it isn't just about settings. Take a RAW file and give it a lot
of minus exposure compensation. Then do the same with a JPEG. See the
difference? The JPEG falls apart pretty quickly because it has so
much less data to work with. )

This is only part true, as I said before it's mostly a matter of
interfaces. While the raw interface works direct on the image to make
changes, the 2nd interface used for jpeg, changes other things at the
same time. When you make changes, in most cases you can do the same
thing with a jpeg.

Only it's becomes harder in the jpeg interface, because you then have
to make other adjustments to do the same thing. Meaning if you know
what you are doing in photoshop, you can get the same thing as you
can with raw from a jpeg. Only it takes more work, and know how then
your going to get pretty close.
No, it's not about the interface. It's about the source file you're working with. The data in a JPEG file is only a subset of what it is in a RAW file. It doesn't matter how hard you work on a JPEG, if the data isn't there, it isn't there. You can do tricks to fill in data, but it's not the same as actually accessing the true image data that the sensor originally captured. If you don't want or don't need all the data that a RAW file offers, shoot JPEG. But if you do want all the data that a RAW file offers, shoot RAW. It's as simple as that. Forget about interfaces and all that mumbo jumbo. Just ask yourself what kind of source file you want. One source file gives you more, and one source file gives you less. There's no two ways about it.
 

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