Everything you need to know about the RAW format. Shooting RAW: Myths and Facts Raw Image Size

We all write the name RAW in capital letters only because it’s customary and everyone understands that we are talking about the file format. WITH in English raw is translated as “raw”. This is completely true to the essence of this format, because it is an image or video format that contains all the data captured by the camera. Such files are not processed, and you have access to all information received from the camera sensor.

Every time you take a photo when working with Jpeg, the camera adjusts sharpness, contrast, color correction and noise reduction. The camera also compresses the image. Each camera can adjust the amount of adjustment, but if you want to be in control, you should use the raw RAW format. The files will take up significantly more memory, but this will allow for more flexibility in extracting detail from shadows and highlights, adjusting white balance, and having access to more colors.

You can also shoot in RAW+JPEG, getting both images at the same time. This will allow you to perform the conversion manually if you are not satisfied with the quality of the image processed by the camera.

1 Why is RAW adjustment not destructive?

When you edit a JPEG file (such as adjusting exposure, white balance, or contrast), all changes are saved in the original file. This means you can never get back to where you started unless you keep a copy of the original file.

This can be disastrous if you make a mistake and save changes to the original file rather than a copy (especially if you don't have backup copy original).

What mistake can be made? You could crop the image, convert it to black and white, or resize it, and then save the image. All these adjustments will be irreversible. This is a destructive edit where the edit cannot be undone.

TIP: When working with JPEGs, always make sure to use the "Save As" option when saving the file.

When working with RAW, it is not possible to overwrite the original file. All edits are saved as instructions containing all edit data. That is, there is an original raw file and a file with data on how the viewer program or graphics editor should display this file, taking into account all the adjustments to color, contrast, detail, etc.

This means you always have access to the original file. Since the original image data is always left untouched, it is known as non-destructive editing.

2 I set my camera to shoot in RAW and took some photos, what now?

Good job! Now you need to copy the photos to your computer.

You can do this by connecting the camera to your computer or remove the memory card and insert it into a memory card reader that must be connected to your computer.

Once the source files are on your computer, you can use a graphics editor like Lightroom to edit them. Once you're done editing, you can export your photos as JPEGs or print them.

3 Can I print the raw file?

Short answer: Yes and No.

Not all software programs will allow you to print raw files directly. If you're working with an editing program like Lightroom, you can print your source files directly from Lightroom.

Most hobby photo labs will not print RAW files. Professional labs also do not print from source files. This is because each graphics editor can interpret the colors of raw files differently. There are also many RAW formats. Each camera manufacturer has created its own format.

The acceptable format for printing is JPEG or in some cases TIFF. Both of these formats are easily created from RAW files.

4 How big are the original files compared to JPEGs?

RAW file size is 3-4 times larger than JPEG. Raw files are larger because they contain much more information compared to JPEG files. JPEG is a compressed file format. This means that in order to achieve a smaller size, the camera literally throws away information.

Keep in mind that storage space costs money and you will have to make a choice in what format to store your files.

5 Do I need to convert my photos from RAW?

No, you can store your original source files in their original format. You only need to export RAW files to JPEG if you want to print them or share them online.

You can convert source files to an open source RAW format known as DNG.

6 What should I do with my JPEG photos now that I'm shooting RAW?

Your old JPEG photos are still worth keeping on your computer! You can't convert them to RAW, but you can edit them in programs like Lightroom.

While you can make all the same changes to JPEG files that you can make to RAW files, you won't have the same flexibility. You may notice a loss in image quality if you adjust too aggressively.

7 Should I shoot in sRaw or mRaw?

Some cameras can do some RAW compression, such as sRAW and mRAW. These are essentially the same raw files, but with a reduced resolution. So instead of having 6000x4000 pixel files, the image will be reduced to 3000x2000 pixels.

This will get the files smaller size. If you want to get serious about photography, it's best not to use smaller formats. They will give less freedom during processing.

8 How does B&W work with RAW?

Raw format and black and white photos are a great combination! Great choice!

The first thing to note is that you should not use the built-in B&W feature. These filters can help give you an idea of ​​what the photo will look like after it's taken, but you'll get much better results with graphic editor, for example, in Lightroom or Photoshop.

Additionally, black and white filters on cameras often require you to shoot in JPEG format. This means that your photo will be truly monochrome and you won't be able to go back to color if you decide to do so.

When shooting in RAW, you can decide after shooting whether to convert the photo to black and white. You'll also be able to create a more dramatic look by adjusting the brightness of each color separately.

9 Should I provide raw files to my client?

Most often this should not be done. Typically, clients do not need images in this format. They don't know what to do with them. At the same time, they will look dull, without contrast and without rich colors. Before transferring the work to the client, you need to correct it, make it look beautiful, and convert it to JPEG.

You could provide the client with the original files of the adjustments you made (send the RAW with the .xmp files) - but unless your clients are photographers, they probably won't be able to use those files. They may not even be able to view them, since not every image viewer displays RAW.

It's best to send high-resolution JPEGs that can be viewed, shared online, and printed.

10 When should I shoot in Raw?

Whether you're an amateur or a professional, you should shoot in RAW.

All DSLRs offer the ability to shoot in RAW. Modern smartphones and high-end compact cameras also provide access to this format. RAW – this is a file in the maximum quality that the camera can create. You should take advantage of this. In addition, you have the opportunity to shoot in RAW+JPEG. So, if you are not satisfied with the Jpeg photo and want to edit it, you can always use the RAW pair for this.

Sometimes people have a lot of objections to shooting in RAW:

Filming in RAW takes up a lot of time and space. After shooting, you can process the images to obtain the best image quality and convert them to Jpeg. Afterwards, raw large files can be deleted. This will save space. It gets more complicated over time, but if you don't plan on doing file processing, there's really no need to shoot in RAW. In addition, there are now smart image editors, for example, Photolemur, which do all the processing themselves.

Filming in RAW Amateurs don't need it, it's for professionals. Shooting in RAW is necessary for those who care about the quality of their images.

It should be understood that JPEG is also acceptable for shooting. Many professionals shoot only in this format and their work is very good. But they have no chance for error. Everything they do must be thought out and customized. RAW allows for small errors that can be corrected in post-processing.

But you should understand that shooting in RAW does not give any concessions. You still need to pay maximum attention to your camera settings and scene lighting.

Shooting in RAW gives you much more options for improving your photo. For example, RAW allows you to have full control over white balance during post-processing. YOU will be able to pull out more detail from the highlights and shadows.

My clients won't know the difference between RAW and JPEG. It's true, customers won't notice the difference. Especially if you give them pictures in JPEG format.

It's important to note that, as a professional photographer, you will know the difference between RAW and JPEG yourself. You'll know how much editing flexibility you have. Sometimes, if you make a mistake with the settings, you can end up with a frame that is too dark or too bright. RAW will save this photo.

I can't get the same skin tones when shooting in RAW , as it turns out when working with JPEG. JPEG files are processed in the camera according to preset settings. The camera works with white balance, contrast, and colors. All these adjustments are available to you.

Processing can be performed in any graphic editor. Initially, RAW files appear duller than Jpegs. They need to be processed and with practice the necessary skills will come to you.

Treatment RAW takes longer than JPEG. Regardless of the format in which you shoot, the speed of processing will depend only on you, the processing methods used and the correction steps.

There are no professional photographers who would give clients completely unprocessed images. Even shooting in JPEG requires additional processing, since the camera makes minimal changes at the file creation stage. The only thing that Jpeg allows you to do faster is transferring files from a memory card to a computer due to its smaller volume.

Even photographers who shoot in JPEG edit their photos, and if you spend time editing your photos, you can also use RAW for better quality.

Lightroom allows you to batch process your photos. The program works with RAW and JPEG files. Batch editing allows you to select multiple photos and apply the same adjustments to all of them. It turns out that you only need to edit one photo, and the rest will be edited automatically. This is very convenient if you shoot in the same lighting conditions. You can even create presets that are applied with one click. Lightroom allows you to significantly increase the speed of image processing.

11 When should I shoot in JPEG?

JPEG files take up less space on your memory card. This format will be convenient on a long trip when you cannot free up a memory card. With RAW format it can be filled quickly.

Jpeg is also preferable if your camera has a small memory buffer and you need to shoot in burst shooting. JPEG won't fill up the buffer as quickly and you'll be able to take more photos in a burst and better document sporting events or other active scenarios with rapidly changing content.

If you need to frequently shoot long bursts, then you should consider buying a camera with a large memory buffer and high speed filming. If such a need does not arise often, you can simply work with the Jpeg format.

You can also shoot in burst mode and in RAW format, but the buffer will fill faster and the bursts will be shorter.

12 What software do you need?

If your camera is capable of shooting in RAW, then most likely the camera manufacturer offers software to process these files. You can find it on the CD or DVD that comes with the camera or on the manufacturer's website.

The benefit of using RAW processing software from the camera manufacturer is that it's free, but that's where the benefits end. Their software is typically clunky, ugly, and made without much consideration for usability or performance to run efficiently.

The most common software for working with RAW is Adobe Lightroom.

Lightroom has several competitors, such as Capture One Pro, and DxO Optics Pro.

All of these programs have their own strengths and weak sides. No one program dominates the other.

Why use Lightroom? First, Adobe is the market leader. It's likely that more than 90% of professional photographers use Lightroom and Adobe Camera Raw (software that integrates with Photoshop).

Because Lightroom is made by Adobe, it integrates well with the company's other products, which allow you to work with graphics, design, website development, presentations and much more. The most important integration is Photoshop. You can make adjustments in Lightroom, transfer the photo from the program to Photoshop, make corrections that could not be done in the previous program, and then return to editing in Loghtroom, without ever having to go to the desktop to resave the file. Everything is done easily and quickly.

In general, Photoshop is a more advanced professional graphics program. You can make adjustments at the pixel level. This is very important for retouching, photo manipulation and working with plastic. You can't do all this in Lightroom.

A good alternative to Photoshop for most photographers is Photoshop Elements, which is the consumer-grade version. Photoshop Elements supports Camera RAW, but Adobe has cut some of the program's functionality.

Proof

If you still need proof of RAW's superiority over JPEG, try taking a photo in RAW and photographing the same scene with the same settings in JPEG. Then open both files in Lightroom. Try making adjustments to things like exposure, contrast, and white balance. You can easily see how much better the results are when working with raw files.

And remember, you can always set the RAW+JPEG setting and shoot in both formats at the same time, so you have nothing to lose!

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RAW or Jpeg - what is the difference and which format is better to shoot in?

How to ensure high-quality color rendition - this question probably concerns every photographer. You can adjust color rendering in two ways:

  • Shoot in JPEG format and use camera settings - white balance, saturation, brightness, image contrast
  • Shoot in RAW format (if the device allows this) and adjust color rendition when processing photos on a PC

Both of these methods have their pros and cons, I will try to briefly talk about them. But before we start practicing, let's first determine what the difference is between JPEG and RAW formats.

JPEG format

The format got its name from the acronym Joint Photographic Experts Group, the organization that created this format. JPEG is by far the most popular photo storage format, so all cameras without exception can save images in this format, and all picture and video playback devices ( personal computers all varieties, media, DVD, BlueRay players, digital photo frames and other devices) can read this format and reproduce the image on the screen. Compatibility with a large number of playback devices is the main advantage of the JPEG format. Additionally, JPEG files are moderate in size compared to other graphic formats- BMP, TIFF.

However, JPEG also has disadvantages. When encoding a picture into the JPEG format, data compression occurs, as a result of which some of the data is lost. With a high degree of compression, the quality of the image seriously suffers; so-called artifacts are visible on it, that is, distortions caused by the loss of too much information during compression.

The picture, I think, needs no comment.

Of course, the camera has several levels of image quality, for example, standard (standard, normal), good (good), best (fine, superfine). In standard quality, the photos are of a moderate size (a lot of photos fit on a flash drive), but in some cases artifacts may be noticeable in the photos. Photos with a lot of fine details are most susceptible to deterioration in quality - in this case, compression can significantly degrade the detail of the image.

Photos taken in best quality They have a larger size in megabytes, fewer pictures fit on a flash drive, but the detail on them is noticeably better. When asked what quality is best to shoot in JPEG format, I definitely recommend using the best quality. Flash drives and hard disks not so expensive that you skimp on photo quality. Photos taken at "standard" quality may look good on a computer screen, but even with minor processing you may be disappointed.

If we're talking about detail when shooting in JPEG, we can't help but mention setting the photo resolution. If the device has a resolution of, for example, 12 megapixels, then its maximum image resolution is approximately 4000 * 3000 pixels (this is enough to print 30 * 45 cm). However, you can change the resolution of photos in the image quality settings. Typically, settings are marked with letters:

  • S (English small - small)- the smallest resolution, which is barely enough to print 10*15 cm. As a rule, it corresponds to 2-3 megapixels.
  • M (English: medium)- average resolution. Photo resolution can vary from 5 to 10 megapixels, which corresponds to a print format of 20*30 cm.
  • L (eng. large - large)- maximum resolution corresponding to the matrix resolution in megapixels. U modern devices- up to 36 megapixels, print format - up to 90*60 cm.

The ability to print photographs on huge canvases is a dubious advantage for the average amateur photographer. However, by saving photos at the highest possible resolution, we get additional features by cropping the image without visible loss of print quality. This is the decisive factor in favor of L mode, in which photos are saved to a flash drive with maximum resolution.

So, in order to get the maximum resolution combined with the best detail, in the photo quality settings we select the mode - maximum resolution (L) with minimum compression (best, superfine).

Sometimes pictograms are used instead of a verbal description of the compression level. Here is an example of the quality selection menu for a Canon DSLR. For now we look only at the left column:

We see that in front of the letters L, M, S there are icons with a smooth left edge and a stepped one. A pictogram with a smooth edge corresponds to less compression, and with a stepped edge - more. In the right column there are different options for shooting in RAW format, which will be discussed below.

Setting the quality and compression ratio is only half the battle... Now you need to make a number of adjustments to ensure the best color reproduction. Color rendering is adjusted in two stages:

  1. Setting White Balance
  2. Adjusting image parameters - contrast, saturation, sharpness.

White balance

You've probably noticed that different light sources have different color shades. A candle gives yellow light, the setting sun gives reddish light, a fluorescent lamp gives bluish light. Our eyes and brain are designed in such a way that, under almost any conditions, a sheet of white paper will be perceived as white - even if it is illuminated on one side by a candle and on the other. fluorescent lamp. The brain will "force" itself to tell itself that the eyes see a white object because it knows that the paper is white.

Unfortunately, this number will not work with the camera matrix. The camera does not know what color objects we are familiar with are, so in unusual lighting conditions significant color distortion is possible. The most typical example is when shooting without a flash in a room lit by incandescent lamps, the photographs often turn yellow.

To avoid such color distortion, it is in our power to “help” the camera decide which of the objects should be “considered” white. This is done using the white balance setting function.

The easiest way to set white balance is to select one of the preset programs. As a rule, the camera has several presets. Usually they are as follows:

  • Sunny
  • Mainly cloudy
  • Sunset Dawn
  • Incandescent lamp
  • Fluorescent Lamp
  • Flash
  • Custom White Balance

In auto white balance mode, the camera itself tries to determine the type of light source and adjust the color rendition accordingly. Most often he succeeds, but you should not rely 100% on this function. She especially likes to make mistakes in mixed lighting, for example - an incandescent lamp is on in the room (yellowish tint), and daylight comes in from the window (bluish tint). In this case, no one will protect against the appearance of yellow, or, conversely, blue faces in the photograph.

This photo shows how Auto White Balance fails in mixed lighting. To avoid such errors, in some cases it is necessary to forcefully set the white balance in accordance with the prevailing type of lighting. In this case, setting the white balance to “incandescent” would help. The landscape outside the window would turn a little blue, but the yellowness in the foreground would disappear, making the color rendition closer to reality. Of course, there is a way out - each time set the white balance in accordance with the source of the main lighting. We entered a room illuminated by incandescent lamps and set the white balance to "incandescent lamp". We went outside and set it to “sunny” or “cloudy” depending on the weather.

In cases with mixed lighting, when there is light from a window on one side and light from a lamp on the other, a flash often helps. If it has sufficient power, it can “crush” other light sources and illuminate the scene being filmed with uniform light. In this case, the white balance must be set to either “flash” or “auto” (when the flash is turned on, the device itself will determine it as the main type of light source). The best results are achieved when using an external flash, but for amateur “household” photography, in most cases the built-in flash is sufficient.

Manual (custom) white balance

Although the preset white balance modes cover most frequently used lighting sources, there are situations when none of the proposed modes are suitable. Take, for example, an incandescent lamp. Powerful lamps (75-100 W) produce light that is closer to white, while weak lamps (25-40 W) have a yellowish tint. A special case is energy-saving lamps, especially cheap ones, whose spectrum is such that even the human eye is sometimes unable to adequately assess the color picture.

Some devices have the ability fine tuning white balance, relative to the preset one, however, in order to optimally adjust the color rendition for these lighting conditions, you need to take several shots with different settings and choose the setting with which the color rendition is as close to reality as possible. This takes a long time and is not always effective, since you have to focus on the image displayed on the LCD screen, the color rendition of which is not always ideal.

It is much easier to use the “manual white balance” function. To do this, you need to photograph some white object (or just a sheet of white paper), and then point this photograph to the camera as a sample by which to set the white balance. I don’t see any point in describing in detail how this is done - different devices have their own sequence of actions, so I recommend using the instructions, everything is described there step by step specifically for your device.

Most cameras can save one or more custom settings white balance. If you regularly have to photograph under specific lighting, it makes sense to save the white balance setting so that you don’t have to worry about photographing a white sheet later.

To illustrate the capabilities of manual white balance, I propose to compare the color rendition in two photographs:

Automatic BB

Manual BB (as a test white the left character's white jacket was used)

The result is noticeable - in the first case the photo turned yellow, in the second the color rendition is close to reality.

Setting the Picture Style

The “picture style” function is probably found in all cameras. With its help, you can adjust the brightness, contrast, color saturation, picture clarity, and also “force” the device to shoot in b/w or sepia mode.

As a rule, the device already has a set of preset image styles - landscape, portrait, natural tones, accurate tones, and so on, as well as several “empty” cells for custom settings. Here is an example of the menu item “selecting a picture style for a Canon EOS 5D camera:

All presets are a combination of parameters:

  • sharpness
  • contrast
  • saturation
  • tone color

It’s somewhat reminiscent of the picture adjustment function on a TV :) With contrast, saturation and tone color, I think everything is clear. Sharpness refers to software “enhancing” the contours of objects, due to which the picture will appear sharper. Keyword- “to seem.” In fact, software sharpening does not increase the detail of the photo. If the object in the photograph is slightly blurry initially (out of focus, or the lens could not capture all its nuances), no software algorithm will be able to “invent” the missing details. You shouldn't turn the sharpness control all the way up in hopes of improving the quality of the photo.

As you can see, setting up your camera to shoot JPEGs to get the best results is not as easy as it might seem at first glance. This is precisely the main disadvantage of JPEG over another format - RAW - which will be discussed further...

RAW format

Why do you need the RAW format and why is it better than the JPEG format?

The format got its name from the English word "raw", which means "raw, unprocessed". In principle, this is quite consistent with the essence of the matter. When using the RAW format, the signal captured from the matrix is ​​written as a file to a flash drive (the file extension may differ for different cameras). The camera does not do any processing, allowing the user to process information on a PC using special program- RAW converter. This gives a huge advantage - the photographer does not need to worry about white balance, brightness, contrast, saturation of the image - all this can be adjusted later on good monitor. “Raw” data carries a large amount of redundant information, which, if necessary, will allow you to adjust all these image parameters as accurately and correctly as possible.

In the JPEG format, all "extra" data is eliminated to provide the smallest file size, which seriously limits processing capabilities. While brightness and contrast can still be adjusted, incorrect white balance is much more difficult to correct, especially if the error is large. In this case, you have to sacrifice the naturalness of the flowers. Here is an example when a photograph that had turned yellow was extracted from JPEG and RAW.

Original version

Corrected version (JPEG)

Adjusted version (RAW)

As you can see from the examples above, when trying to correct the white balance in a JPG, the picture acquired a somewhat unnatural tint, as if the photo was shot on cheap negative film that was scanned on a household scanner. I note that in this case I did not make any special efforts to bring the colors closer to real ones, but this required several operations in Adobe Photoshop. You can read more about editing white balance in JPEG in this article /article45.html. The point of the article is that correcting a minor white balance error in a JPEG is possible, but it is a rather non-trivial task. If there is a serious white balance error, it is unfortunately impossible to restore color reproduction without visible loss of quality when working with the JPEG format.

Main features of RAW

Instead of describing the capabilities of RAW here, I will show an example of how one initially unsuccessful photo was saved. During a summer trip to St. Petersburg, my wife and I visited the Hermitage, naturally taking a camera with us. As in all museums, flash photography is prohibited in the Hermitage. Anticipating this situation, I took a fast Canon EF 50mm f/1.8 lens. But the main problem lay in the fact that in different rooms there was different lighting - in some there was daylight from the windows, in others - artificial lighting. If I were shooting in JPEG format, I would have trouble setting the white balance. Looking ahead, I will say that the shooting was carried out in RAW and it was possible to simulate the situation, what the result would have been with certain BB settings in JPEG. So let's start from the beginning:

Auto white balance:

A terrible mixture of yellow and red! Such photographs are often taken when the room is illuminated by a large number of incandescent lamps of relatively low power, in which case the photograph is painted in a yellow tint. Well, let's try to set the white balance to "Incandescent"... Here's what happened:

A bit better. The yellowness became less, but an incomprehensible green appeared. The result is also unsatisfactory.

Option with manual installation White balance is very labor-intensive, since you will have to carry out this procedure in almost every new room. Fortunately, there is a RAW file that allows you to set the correct white balance on your computer in 1 mouse click.

For RAW processing, we used the Digital Photo Professional program, which came with the Canon EOS 5D camera (on the software disk). As for other devices, I’m more than sure that something similar is provided for them too.

The program has a very simple interface, so understanding it will not be difficult. In fact, it duplicates the camera settings regarding color rendering, and also has a number of other functions.

To set the white balance, take the eyedropper (shown by the red arrow) and poke it into the part of the photo that should look white or light gray. In this case, it was my jacket. The colors in the photograph can be seen in the picture. The result obtained cannot be compared with what was obtained only standard settings camera

Digital Photo Professional allows you to set " backdating"picture color rendering settings, which are available through the camera menu. Thus, during shooting, you get the opportunity not to waste time setting white balance or choosing an image style. This is especially true when shooting reportage, where every second counts. The program allows you to do some things that are simply not available through the menu, for example - adjusting noise reduction, adjusting sharpness, correcting chromatic aberrations and distortion (distortion of straight lines at the edges of the frame). The only condition under which all this works is that the photo was taken in RAW format. With JPEG, most functions not available.

It must be said that the Digital Photo Professional program has relatively little functionality compared to the popular Adobe Photoshop Lightroom program, but it is worth considering the fact that licensed Adobe Photoshop Lightroom costs about $200, and updates to new versions of this program are paid (about $100 ). Digital Photo Professional is available to us completely free of charge and is updated to newer versions just as free. However, there is a caveat - the program itself cannot be downloaded; it must be installed from disk. From the Canon website you can only download an update to the latest version.

I don’t see any point in writing a manual for Digital Photo Professional here for two reasons - firstly, it will only be of interest to owners of Canon devices, and secondly, such a manual already exists - http://www.ixbt.com/digimage/canon_dppix.shtml

Even if the JPEG version has the correct white balance, the RAW version of the photo will likely have better quality. The reason is simple. The performance of a computer processor is much greater than the performance of a camera and it can handle more complex image processing algorithms - improving detail, filtering noise, and other processing. Even if processing takes some time, this is not a problem for the computer - the user can wait. When photographing, every second is worth its weight in gold. As a result, the algorithms used by the camera to process the image taken from the matrix are squeezed into a tight time frame so as not to reduce the speed characteristics of the camera. For example, those actions that a computer can do in 10 seconds, the device must perform in no more than 1 second. This inevitably affects the quality of processing, especially when the device does not have the most modern and fast processor. This is why the result of shooting in JPEG is almost always worse than correctly processed RAW.

It is impossible not to mention one more technical aspect. When shooting in JPEG, pixel color information is encoded in 24 bits, when shooting in RAW - from 30 to 42 bits. It's not hard to imagine how large quantity colors can be encoded in 42 bits instead of 24.

What are the main disadvantages of the RAW format?

RAW is not available on all cameras. Owners of DSLRs and “top-end” point-and-shoot cameras can rest easy, but those who have relatively inexpensive compact devices may be disappointed - they most likely do not support the RAW format.

RAW files cannot be opened on any device other than a PC with special software installed. Media players, digital photo frames, tablet computers photos in RAW format will not be shown. To do this, they need to be converted to JPEG format (on a PC, using RAW processing software).

The RAW processing program that comes with the camera on disk has a rather meager set of capabilities. More functional software is often paid.

The file size is approximately 2 times larger than JPEG in the best quality. If you are going on a long trip and intend to take photographs in RAW, stock up on a larger capacity flash drive.

What is the RAW+JPEG format?

In most devices, you can select a mode where photos are written to a flash drive in the form of 2 files - one RAW, the other JPEG. This can be useful in cases where the main shooting is in JPEG format, but you need to play it safe so that if something happens you can “pull” an incorrectly taken photo from RAW.

If the results in JPEG format satisfy the photographer (or customer), RAW files can be safely deleted. As you can see in the picture, for the JPEG option you can choose different resolutions and qualities. Keep in mind that when shooting in RAW+JPEG, the flash drive will run out faster than just shooting in RAW.

What format should I shoot in?

If you're interested in getting the most out of your camera, which translates into the highest quality photos possible, I highly recommend shooting in RAW. All further chapters of the textbook will assume that the shooting is carried out in this format.

Questions for self-control

If your camera can shoot in RAW:

1. Install a RAW processing program on your computer (if it is not already installed). If you don’t know where to get it, look for it on the disk that came with the camera.

2. Take several photos in RAW+JPEG format. If you are shooting indoors, try to avoid flash.

3. Download the result of filming to your PC and process the RAW files in installed program. Set the correct white balance (based on the white area of ​​the image), brightness, contrast, and noise reduction level. Compare your results with JPEG images.

If your camera does not support RAW

1. Check what image quality you have selected. Set the resolution to maximum with minimum compression.

2. Experiment with image styles - change brightness, contrast, saturation, color tone. Save your favorite settings as a custom mode. How to do this - read the instructions for the camera.

3. Learn to set white balance using a sheet of white paper.

You've probably heard about "digital" negatives - the RAW format ( approx. translator - from English.raw- "raw"). However, inconsistent explanations of what the RAW format is can cause difficulties when working with it. Part of them is the lack of a uniform standard. The RAW format has many specifications, for example: .CRW or .CR2 for Canon, .MRW for Minolta, ORF for Olympus, various versions of .NEF for Nikon. But they all have common properties. So that you can sort out your knowledge about “digital” negatives, I’ll tell you how an image is formed in a digital camera.

RAW format. What is it, where is it used and why is it needed?

A RAW file contains data obtained directly from the camera's light sensor. The structure of this data may vary, but in all cases they completely, without loss, reflect the result of converting light energy into electrical signals. So let's clarify what happens when light hits the sensor.

There are several digital imaging technologies that fall under the term “digital camera.” Almost all of them that generate RAW files are mosaic cameras or digital cameras with a color filter array (CFA).

“Mosaic” cameras use two-dimensional (flat) platforms that “catch” and “take into account” photons. The platforms consist of identical cells, arranged in rows and columns, thus forming a matrix. Each cell is a light-sensitive detector built using one of two technologies: a charge-coupled device (CCD) or a complementary metal-oxide semiconductor (CMOS). Typically, each cell defines one pixel of the final image.

Matrix. Each element of the matrix is ​​one pixel of the image.

Each cell on the site - a light-sensitive sensor - only “counts” the number of photons. Electric charge, generated by the cell, is directly proportional to the energy of the “caught” photons. The main feature of the process is that the matrix forms an image in shades of gray - the RAW file does not contain color information.

Converting a black and white image to color

The role of the color filter array is to “colorize” the colorless RAW image. The matrix cells are “covered” with color filters. Thus, each cell catches only either “red”, “green”, or “blue” photons. In most photosensitive sensors, filters are arranged according to the Bayer principle. The figure below shows this order:

A color filter is installed above each cell, so it perceives only one of three colors: red (R), green (G) or blue (B). The filter order follows the Bayer pattern. There are 2 times more green filters than blue and red ones. The retina of the human eye, which is most sensitive to green light, is structured similarly.

Also, other color filters and their orders are used. Some cameras use sensors with CMY filters ( approx. translator - an abbreviation formed fromCyan-Magenta-Yellow- “cyan-magenta yellow” is a color “palette” used in printing, for example, in offset printing.), instead of RGB filters. CMY filters take in more light, resulting in a lighter final image. Some cameras may use sensors with a filter of an additional - fourth - color.

All types of color filter arrays have one thing in common. It doesn't matter what colors are perceived and in what quantity. The important thing is that each cell perceives only one color. A cell “covered” with a green filter calculates the lightness of the green component luminous flux, reaching the sensor. The cell, “covered” with a red filter, calculates the lightness of the red component of the light flux that reaches the sensor. The cell, “covered” with a blue filter, calculates the lightness of the blue component of the light flux reaching the sensor.

A RAW file contains two types of data. The first type includes the lightness values ​​of each cell, the second type includes metadata.

Metadata (literally, "data about data") is generated by the camera's processor for each photo. For example, both JPEG and RAW formats contain EXIF ​​data (EXIF - Exchangeable Image Format), which reflects shooting parameters such as model and serial number camera, shutter speed and aperture value, focal length of the lens and the fact that the flash was fired at the time of shooting.

RAW files also contain special information that is used by programs that interpret RAW files into RGB images.

In addition to the lightness values ​​corresponding to each pixel cell, the RAW interpreter reads information about the location of color filters from the RAW file. Using this data, the program matches the cell and the color of the filter “covering” it. Then the RAW converter builds an RGB image using the interpolation method: the color of each pixel in the final image is calculated taking into account the color and lightness of the analyzed cell corresponding to the pixel, as well as the colors and lightness of its “neighbors”.

RAW-the interpreter converts color “mosaics” into an image based on RAW data-file.

The process of converting color “mosaics” into an image is the main action carried out by the RAW interpreter. But not the only thing. The RAW interpreter performs the following tasks in addition to the main action:

1.Determining white balance

The white balance value set by the digital camera at the time of shooting does not affect the data saved in the file. It is simply written to the appropriate metadata field. Some interpreters read this value and use it to generate the final image. At the user's request, the white balance can be easily changed. Other interpreters can ignore the value “built into” the file and determine the color ratio by analyzing the -file.

2. Color rendering

Each value in the -file specifies the lightness of one of three basic colors: red, green or blue. But “red”, “green”, “blue” are flexible concepts. If you could see other people's thoughts and asked a hundred people to imagine the color red, you would find a hundred different shades of red. Color filter matrices may differ depending on the digital camera model. Therefore, the RAW interpreter tries to define “pure” red, green and blue colors in a device-independent color space, for example, CIE XYZ. It is designed taking into account the peculiarities of human color perception.

3. Purpose of the corrective gamma function

The distribution of tones of the scene being filmed is perceived linearly by the photosensitive sensor (gamma function is equal to 1). This perception is very different from human and “film” perception. - the interpreter applies a corrective gamma function to the image so that the distribution of highlights, penumbra and shadows in the final image corresponds to how a person sees light. The linearity of the light sensor is a key factor in calculating exposure during shooting. The topic is discussed by me in the article “RAW, Exposure and Linear Light Perception”.

4. Digital noise reduction, smoothing and clarity enhancement

Difficulties may arise with very small image details. If some detail is “captured” only by a “red” or “blue” cell, it is difficult for the interpreter to calculate the color of this detail in the image. Also, simple algorithms for converting mosaics into an image may have difficulty determining the boundaries of two areas of uniform color. In addition to digital noise reduction and clarity enhancement algorithms to reduce color distortion in the final image, many image processors are equipped with algorithms that combine two opposing functions: edge detection and anti-aliasing.

All RAW interpreters solve these problems. However, solution algorithms may differ greatly. This is why the resulting images from the same RAW file may have some differences depending on the RAW interpreter used. Some programs will generate images with smoother tonal transitions. In this way, they “free up space” for further processing. Other RAW interpreters assign a steeper tonal curve, bringing the final image closer to the appearance of film photography.

There is no “correct” RAW interpreter. Software manufacturers create algorithms regarding their subjective opinion of what is the “best” result.

How does a JPEG image differ from a RAW image?

When you shoot in JPEG format, the camera's built-in RAW interpreter does all of the above to produce the final image. Then it applies the JPEG compression algorithm to it. Some cameras provide control capabilities. For example, you can choose the color space (sRGB or AdobeRGB), the amount of sharpening, and sometimes the tonal curve and contrast. If you take photographs at a fast pace, then specifying all these parameters for each frame during shooting is inconvenient. Therefore, in the case of JPEG, the camera limits you by interpreting the scene in its own way.

JPEG images have very little editing potential. Active tone and color correction reveals 8x8-pixel fragments in the image, which are generated during the process of converting the image to JPEG format. JPEG conversion tries to preserve the distribution of tones in the image, but instead greatly distorts the colors. Therefore, when editing JPEG images, you may experience incorrect skin tones and uneven tonal transitions.

When you shoot in RAW format, you have unparalleled flexibility in how you interpret your image. When shooting in RAW format, only the camera settings that affect exposure: sensitivity, shutter speed and aperture value determine the data saved in the RAW file. Control of all other parameters remains in your hands during the RAW interpretation process on the computer. Operating within a huge range of changes, you can redefine white balance, select a color space and adjust color balance, distribute tones, and adjust image detail (the degree of sharpening and the degree of digital noise reduction). Within certain limits (depending on the RAW interpreter) you can adjust the exposure.

Almost all digital cameras create a 12-bit image: they can store 4096 levels of lightness per pixel. A JPEG image stores only 8 bits of color information per color channel for each pixel. Thus, when photographing in JPEG format, you rely on the RAW interpreter built into the camera. You can only hope that it will drop a large amount useful information in the optimal way while maintaining image quality.

The situation is aggravated by the following trend. Many camera manufacturers apply an incredibly steep tone curve to the image during the RAW-JPEG conversion process, increasing contrast. They aim to create a JPEG image that looks like a positive slide. The conversion process shortens the available dynamic range by approximately 1 EV. However, you cannot determine which tones will be lost and to what extent.

In some ways, creating a JPEG image is similar to a positive process, while shooting in RAW format is similar to a negative process. When photographing in JPEG, similar to the positive process, you need to select correct settings camera During the processing stage, you will have little opportunity to change anything.

Shooting in RAW format allows for significant flexibility in the distribution of tones in the image. A similar opportunity is provided by the negative process. Here developed conditions for color correction and working with saturation appear. Also, when interpreting a RAW file, you can control the detail of the image - reducing grain and increasing clarity. This is an additional advantage to processing according to the principles of the “film” negative process.

Shooting in RAW format has another potential benefit that may not be as easy to demonstrate, but nonetheless. If you photograph in RAW format, then improving the algorithms of RAW interpreters opens up more and more opportunities for you.

Digital photography is evolving: it is no longer a “green fruit,” but it is not yet “ripe,” not to mention its mature “fullness.” Anyone who has worked with digital photography technology for at least two years knows that software gets better every day. new version. JPEG images are relatively inflexible. We can see improvements in the algorithms that operate on them, but these improvements are quite modest. In contrast, RAW interpreters have undergone significant changes since the advent of cameras with color filter matrices. It makes sense to think that they will continue to improve in the future. By shooting in RAW format, you'll ensure you're able to take advantage of these improvements when they become available.

Let's understand what RAW is, what advantages it provides, and which editor is best to process it in.

RAW is the general name for a file format that contains all the information received from the matrix. The so-called raw data (RAW translated from English - raw).

What does a RAW file contain?

To clearly demonstrate how the format works, let's first look at how any camera works.

After taking a photo, the camera receives data directly from the matrix. But this is not a photograph yet, but raw data. After this, the camera processes the received information making the photo clearer, brighter, more contrasty and richer. The result of this processing is the finished photo, which is saved in JPG format.

Thanks to all this, the RAW format provides an order of magnitude more possibilities for photo processing than the JPG format.


RAW is not a file extension. Various manufacturers use different resolutions for files of this format, for example, DNG, CRW, CR2, DCR, KDC, RAF, ARW and so on.

What are the benefits of RAW?

All advantages are somehow related to saving the original data from the matrix, which gives:

  • more possibilities for post-processing,
  • greater dynamic range of photography,
  • greater color depth.

Another advantage is working with noise, sharpness and artifacts. The fact is that these tools work with the smallest details of the image, and they, in turn, are the first to be distorted during JPG compression. In RAW format, this data remains in its original form.

The disadvantages are the larger file size and greater demands on computer performance.

How to process RAW

The RAW file is created in such a way that it cannot be processed, that is, information cannot be written to it. You can only open it, apply the necessary changes, and then save the result in JPG or TIFF format.

Changes to source files are stored either in the program or in an external XMP file, where all changes are recorded. Read more about XMP.

To work with RAW, so-called RAW converters are used. Below is a list of the most popular converters:

  • Adobe Lightroom Classic CC
  • Adobe Camera RAW
  • PhaseOne Capture One Pro

A few less popular programs: DxO Optics Pro, ON1 Photo RAW, Luminar 2018.

Lightroom Classic CC and Camera RAW are created by Adobe and use the same engine. The difference is that Camera RAW is a plugin for Photoshop, and Lightroom is a standalone program with cataloging, processing and publishing functions.

These two programs account for about 85% of the converter market (estimated), another 10-12% comes from Capture One Pro.

It’s better to start learning with ours.

Today Lightroom is a whole family of programs, you can read more. It consists of three programs that can sync photos, presets and settings via the cloud.

  • Lightroom Classic CC is a program for desktop computer, exists in versions for PC and Mac.
  • Lightroom CC - a cloud-based solution, a simplified analogue of Classic CC
  • Lightroom mobile is an application for smartphones and tablets.

In addition to universal ones, there are also specialized converters produced by camera manufacturers for their customers. The main advantage is that they perfectly display colors as the manufacturer intended. But as a rule, they are less convenient to work with and catalog.

  • Nikon – Nikon Capture NX-D
  • Canon – DPP (digital photo professional)
  • Fujifilm – File converter EX
  • Sony – Capture One (special version supporting only Sony cameras)

conclusions

The RAW format contains more information. This is a tool for professional photographers and advanced amateurs who process their photos.

If you are filming a vacation with your family, you can safely use JPG. And it will be easier for you and the information in jpg is more or less enough for a small correction.

RAW is the so-called “raw” format for saving image data in professional and semi-professional cameras. It allows you to save information captured by the camera lens for subsequent processing in a photo editor.

In this article you will learn how to open the RAW format and learn the features of files of this type.

General description of the features of RAW files

At the moment of shooting, the necessary data about the frame (white balance, contrast, exposure, saturation and sharpness) is transferred to the memory of the camera or camera in 12-bit form (less often 14 or 16 bits per channel). The resulting image is easier to edit than a JPEG. In raw form, frames remain unsuitable for use by users (RAW viewing, printing, editing with standard raster programs).


Key benefits:

  • saving the obtained values ​​of each pixel of the matrix (the author has access to the full color gamut of the camera at the time of editing the frame);
  • manual correction of images and correction of exposure errors (for example, distortion);
  • at the time of saving, frame distortion does not exceed 1%;
  • working with photos taken in the ultraviolet and infrared spectra;
  • lightening, darkening an area of ​​the frame.

Contrary to popular belief, there is no general standard for RAW: files from competing camera manufacturers differ in size, resolution, and extension. The format is also called digital negative due to the post-processing features. Many people don’t know how to open a RAW image format.


The format stores the following data:

  • camera and lens identifiers;
  • description of shooting conditions (shutter speed, lighting, sharpness, dynamic range);
  • frame conversion type;
  • number of the editing frame, take, position of the panoramic head.

Starting with Android 5.1, RAW shooting is also available on smartphones.

How to open RAW format

SLR camera manufacturers have not developed a common encoding format for RAW, so the choice of software for processing images is limited by the brand of optics purchased. If you have to work with images remotely, use the software set described below as a guide.


OS Windows 7-10

Optics manufacturers have developed their own RAW file extensions and clients for processing them:

  • ACR, CR2 - Canon();
  • NEF, NRW - Nikon ();
  • PTX, PEF - Pentax();
  • SRW - Samsung();
  • ARW, SRF - Sony ().

MacOS X

To work with the format on Apple OS, use the following programs:

  • Apple Photos;

Linux

The choice of video editors on this OS is small, but still:

Android

Starting with version 5.1 Lollipop, Android smartphones have learned to take photographs in RAW format. It was even standardized as DNG (Digital Negative). The following set of programs is provided for processing files:

iOS

Officially, Apple equipment cannot shoot in “raw” format, but there are possibilities for this, starting with the iPhone 6s. To work with ready-made material, use.