Aaron,
This was the question to which I was responding:
Date: Thu, 6 Apr 2006 15:13:23 -0700
From: Godfrey DiGiorgi <[EMAIL PROTECTED]>
To: pentax-discuss@pdml.net
Subject: Re: OT: help from the RAW file shooters
On Apr 6, 2006, at 12:10 PM, Aaron Reynolds wrote:
>> He's new. He will find the calling soon enough Grasshopper.:-)
>> He found hot pixels, he will find Raw.<g>
>
> I have found the calling: I'm in The Brotherhood. This digital
> camera thing is for work that is about speed, not quality. Why
> would I shoot RAW when I could shoot 67?
For those situations when you want to get everything the DSLR can do.
It's not about increased resolution, it's about getting all the
dynamic range that the sensor can capture.
It will still be dozens of times faster than processing, scanning,
and printing 6x7 film. A good, automated RAW workflow makes it barely
any more work to get standard JPEGs out of the process than capturing
in JPEG format to begin with, but nets you the ability to go further
when scene conditions warrant additional effort.
Godfrey
Note that I never said anything against your delight in the 6x7, or
called you an idiot or exhibited any "zealotry" about RAW format. You
asked why you *would* capture digitally in RAW format vs use your 6x7
with an emphasis on the speediness of the digital. I responded
objectively. A comparison of 6x7 to DSLR RAW imaging qualities was
not the point of my response, nor was I commenting on the specific
high-volume-picture-production situation you are currently engaged
in. I was answering as to why you *might* shoot RAW when you *could*
use the 6x7. Period.
Regards the original post:
Date: Thu, 6 Apr 2006 12:54:44 -0400
From: Aaron Reynolds <[EMAIL PROTECTED]>
To: pentax-discuss@pdml.net
Subject: OT: help from the RAW file shooters
Not for me, but for a friend who sent me this appeal:
> I'm taking a technical writing course in which we have to write
> documentation for a piece of software. The software we're using is
> Silkypix, which, if you don't know it, is a program that converts
RAW
> files to jpegs or tifs. And you can do all kinds of adjusting before
> you produce the final jpeg or tif.
>
> None of the people in my group know anything about photography. What
> are some typical things you'd want to do if you had a RAW file
and you
> wanted to make sure everything was okay before you saved it in the
> other format? We know the things the program can do, but we don't
know
> what a photographer would actually want to do.
I don't shoot RAW much. But I figured that the fine folks of the PDML
would be able to help.
-Aaron
Before you even get to the question, you should be made aware that a
RAW format file out of the camera (.PEF and other RAW formats) is a
read-only file to any software I'm familiar with, including Silkypix.
So the first thing that users of RAW format files should be made
aware of is that they can process a RAW format file as many times and
in as many ways as they like or need, never losing their original
capture data.
A RAW format file in DNG format is a writable file, but what is
written and changed in it is not the capture data or original camera
metadata. DNG files edited with Adobe Photoshop + Camera Raw and
Adobe Bridge add RAW conversion parameters and ancillary metadata
(IPTC core data, keyword data, edit history, etc etc), update the
preview JPEG and thumbnail enclosures to reflect the current RAW
conversion parameters, etc. The original capture data is not affected
and can always be returned to at any time.
After that, a typical RAW workflow goes like this:
- copy files from storage card to computer hard drive
- verify files by opening them with a RAW file browser/sorting
application ... it's not a complete verification, but sufficient for
most needs
- if using DNG format, batch convert them, outputting the files into
a suitable working location for sorting and selection.
- back up to secondary storage the originals, the DNGs, or both
depending upon your particular needs
Everything up to this point can be automated with applications and
scripts. I'd consider that to be the direct answer to "What are some
typical things you'd want to do if you had a RAW file and you wanted
to make sure everything was okay before you saved it in the other
format?" They should be aware of the rest of the process, however.
Next step is selection ... which of the files do you need to work to
a form that can be evaluated?
- use RAW file browser/sorting application to sort, select and rank
candidates for proofing
- bundle files which look to need similar adjustments together into
groups
- make adjustments for each group and apply parameters for RAW
conversion processing
From there you go on to a mix of batch and individual processing,
depending upon the needs.
- once you've covered all the groups such that all files have
parameters applied, run RAW conversion as batch process, output to
RGB file form (TIFF, PSD, JPEG, etc) as required for further needs
- if proofs are fine and sizing is right, you're done for this stage
- if further editing in RAW is required for some, return to previous
stage and readjust, RAW convert again, then continue
- if finish editing in RGB is required, handle those that need it
individually.
- if final sizing and sharpening are required, handle those that need
it either as batch or individuals
- apply IPTC metadata with copyright, rights info, etc in batch
process for a given set (both to RAW, proof and final output)
My usual output from the in-camera PEF format is a DNG with all final
RAW parameters, a .PSD or .TIFF with all layers/edits/etc
incorporated, a high-quality full-rez JPEG, and a web-rez JPEG.
That's the basic set I archive. There are other optional output
files, depending on just how much I want
Godfrey
