Category Archives: Workflow

Lightroom Sony lens profiles: Tamron to the rescue

I had all but given up on being able to use the Lightroom lens correction feature with my Sony 18-250 lens, finding myself a long way down the road to utter exifsperation.

Hardly any coverage of Sony lens profiles in Lightroom, no support in Lightroom for search of on-line profiles, and Photoshop CS5 (which does support on-line search) failed to recognise the lens identification EXIF tag because Sony use a proprietary tagging system. When the latter hurdle was finally overcome with the aid of a bespoke tagging utility, there was no on-line profile available anyway, and the only remaining option, DIY home lens profiling, is not really practical for the non-professional.

Thankfully, Tamron have come to the rescue. They have provided profiles for all their lenses and these come bundled with the latest release of Lightroom, version 3.2. So how does that help me when the lens I’m bothered about is a Sony lens? Well, my Sony DT 18-250mm F3.5-6.3 is optically identical to the Tamron 18-250 F3.5-6.3 Di II (Alpha Mount). Sony own a major share in Tamron and the Sony lens is essentially a rebrand of the Tamron with only minor changes such as more rounded aperture blades (for improved bokeh) and different focus screw gearing (for faster focusing).

I tried the Tamron lens profile with my Sony RAW images in Lightroom and it works perfectly. The distortion correction is indistinguishable from PTLens, to the naked eye at least, but with vastly greater convenience, flexibility, and automatic chromatic aberration/vignetting correction thrown in.

I now have a Lightroom user preset which applies the correction for me with one click.

Kudos to Tamron for saving the day. I know there must have been a marketing angle to their efforts but if they were looking for brownie points they have certainly won them, in my book at least.


googleplus-me

About these ads

3 Comments

Filed under lenses, Photography, Workflow

DxO Special

As someone who has built their worfkflow around Adobe Lightroom, it never occurred to me that there might be any serious mileage, image quality wise, in looking at other RAW conversion software. Lightroom has established itself as one of the two professional tools of choice, along with Apple Aperture. RAW conversion seems pretty commoditised. The choice seems to be around whether you’re a Mac or a PC, and minor usability considerations. No-one has been claiming that one produces better image quality than the other, or indeed than any of the many lesser known RAW conversion options.

Maybe that’s not quite true. I have come across the suggestion for example that Aperture beats Lightroom for RAW conversion of Sony A900 images.

Going much further with the notion that Lightroom (which shares its RAW conversion engine with Adobe Camera Raw) does a rotten job with Sony DSLR images is this recent post by Photoclub Alpha’s David Kilpatrick.

David is speculating that the loose tie up between Sony and French camera software company DxO labs may go further than first thought. In any event, he points out that the DxO Optics Pro RAW conversion program seems to do a far better job on high ISO Sony images than Lightroom/ACR or indeed anything else. Now this may not be just a Sony thing. Perhaps the science of RAW conversion has not been fully tamed after all, and DxO have come up with a superior conversion engine full stop.

I will in any event be trying out the DxO software. I can think of a number of noisy images which might benefit from better RAW conversion. It must be better to get the best possible conversion first, rather than rely entirely on Noise Ninja or similar in a subsequent step.

So I will give it a try and post my findings. Should be fun.

Leave a Comment

Filed under Photography, Workflow

Geotagging for DSLR users

There are masses of geotagged photos in cyberspace nowadays, by which I mean jpegs with location information (latitude, longitude) included in the embedded EXIF data. It’s all thanks to the popularity of the iPhone with its camera, built-in GPS unit and ready connection to the Internet. Social networking sites and interaction with on-line map services such as Google Maps all help to fuel the fun.

The geotag bonanza is not limited to iPhone users. Modern Windows Mobile phones and other platforms all have the same capability, if not the surrounding hype.  And we are starting to see GPS units incorporated into point and shoot cameras, for example the Nikon Coolpix P6000 which geotags pictures automatically before they ever leave the camera.

But what about DSLR users? When do we get in-camera GPS? And why would we want it?

I for one don’t see it as a gimmick. For people who take a lot of photos on their travels it can be hard to keep track of exactly where you took every photo. It’s not as if the Eiffel Tower will be in every shot. For example, I took the picture below on a Far East cruise two years ago.  I shot this from the deck of the ship as it was making its way from Nagasaki to Osaka, meandering around the Japanese islands.

I was fascinated and bemused by the unexpected sight of a mock-up of Venice. I’d love to know what it was all about and where this was.  But I don’t have the details of the route the ship took, so my chances of finding out are probably slim.

GPS-enabling DSLRs would be such an obviously useful thing, but as of today there are none.  The closest we have come to it is Nikon’s  GP-1.  This is a stand-alone GPS unit which attaches to the hot-shoe of the D90 D3, D300, and D700 cameras and adds automatic geotagging of photos.  Nothing at all yet for Canon, Sony et al.  So what to do?

Purpose-built geologging devices

Well there are dedicated devices for geologging, that is keeping a log of your geographical position by taking regular GPS readings and writing them to a file, along with a corresponding timestamp. The idea is you later use suitable software to match the photos to the location data, by reference to their respective timestamps, and the EXIF data updated to include the geotag.  There are also fancy geologging devices which accept an SD card with your photos on it and add the geotags automatically.  But such wonders do not come cheap.  This one from ATP is about $90.

Windows Mobile phone used as geologging device

I wondered whether I could do the whole thing for free by using the GPS unit built into my Windows Mobile phone, instead of buying a dedicated geologger.  My phone (HTC TyTN II)  certainly includes GPS in the spec, but did not come with any satellite navigation software and I had never bothered with any, so the GPS unit had probably never even had juice through it.  Still, maybe it had not totally atrophied from months of being ignored.

I hit upon a free application, GPSToday, which is essentially a clone of the Google map application for mobile phones. Crucially it has a geologging function.  You can set it going and, as you walk around, every 30 seconds it writes your location to a file.  You can change the frequency of readings or let it vary it “intelligently”. I guess that means it takes more readings when you are moving about more.

This sounded desperately promising, so I installed it and got it working.  It works perfectly, happily latches onto legions of satellites when you are out and about, and on request records your travels in a text file (I elected to call it geolog.txt) in the following format:

time,latitude,longitude,altitude (feet),speed (mph),heading
06-16-2009 17:14:48,34.361445,21.317156,440,0,0
06-16-2009 17:14:59,34.361486,21.317144,407,0,0
06-16-2009 17:15:10,34.361502,21.317144,404,0,0

That’s the first snag.  It’s just a flat file, not in any recognised format for location data such as GPX or NMEA.  How could I expect it to be recognised by any suitable photo geotagging software?  GPSToday assure us that a future version will output in GPX format, but for now we’re stuck with the existing non-standard format.

Getting the location data in a recognised format

Enter GPSBabel, a free software application that translates location information between a myriad of formats (including all the proprietary SATNAV manufacturer systems) and even “custom” formats such as the one used by GPSToday.  Mind you, it is hardly straightforward.  You have to use the “xcsv” mode and create a “style file” to tell GPSBabel how to interpret the non-standard location data.

This is how I did it.  I created a folder on my C: drive called GPSBabel and in there put all the files downloaded from the GPSBabel site.  I also copied the location data file geolog.txt from my phone to the GPSBabel folder. I then created a text file called GPSToday.txt, in the same folder, into which I inserted the folowing text:

# Format: GPStoday

DESCRIPTION  GPStoday
EXTENSION               txt

#
# FILE LAYOUT DEFINITIIONS:
#
FIELD_DELIMITER COMMA
RECORD_DELIMITER NEWLINE

PROLOGUE time,latitude,longitude,altitude (feet),speed (mph),heading
IFIELD ISO_TIME,”",”%s”      # time
IFIELD LAT_DECIMAL, “”, “%f” # Latitude
IFIELD LON_DECIMAL, “”, “%f” # Longitude
IFIELD ALT_FEET,”",”%.0f”    # altitude
PATH_SPEED_MPH,”",”%.1f”     # speed
PATH_COURSE,”",”%f”          # heading

I saved it and changed the extension to .style so the file became GPSToday.style.

Now I should explain that I did not arrive at that style file at the first attempt.  Most of it wasn’t too bad but the time field setting was a nightmare.  I tried just about all the options in the GPSBabel help system and none worked.  GPSBabel could not understand the date/time data in the format output by GPSToday, no matter what I did.

In the end I decided to use the ISO_TIME option and run a script to rearrange the date/time information into a format that would be understood by GPSBabel in conjunction with the ISO_TIME setting.  In practice, this meant writing a bit of Visual Basic code.  For convenience I did this from Excel.

This is the code:

Sub FixTime()

Dim TextLine As String
Dim LineBuffer As String

Open “C:\GPSBabel\geolog.txt” For Input As #1
Open “C:\GPSBabel\geologISOTIME.txt” For Output As #2

Line Input #1, TextLine
Print #2, TextLine

Do While Not EOF(1)
Line Input #1, TextLine

LineBuffer = “”
LineBuffer = LineBuffer & Mid$(TextLine, 7, 4) & “-”
LineBuffer = LineBuffer & Mid$(TextLine, 1, 2) & “-”
LineBuffer = LineBuffer & Mid$(TextLine, 4, 2) & “T”
LineBuffer = LineBuffer & Mid$(TextLine, 12, 8) & “Z”
LineBuffer = LineBuffer & Mid$(TextLine, 20)

Print #2, LineBuffer

Loop

Close #1
Close #2

End Sub

On running this VB macro, a new file, geologISOTIME.txt is created in the same folder, with the same data as geolog.txt but with the date/time format changed so that it would be acceptable to GPSBabel.

You can then run GPSBabel, by double clicking the file GPSBabelGUI.exe.  You have to point it at the input file, geologISOTIME.txt, and specify that it is in xcsv format and also specify the style file, GPSToday.style.  Give the output file name as say geolog.gpx and specify the gpx output format.  Then run the translation process to get your location data into a standards compliant format you can use with a photo geotagging program.

Applying the geotags

The final step is to feed both the gpx file and your photos to a program which can do the timestamp matching and write the geotags to the photo files.  I picked a free open source program called GPicSync.

It is fairly self explanatory in use.  If you managed to cope with the format conversions then running it will not be too taxing.  It creates new versions of your photos, with the geotags written into the EXIF data, and saves the untouched originals in a backup folder.  Job done.

Proving the geotagging has actually worked

As an independent check I downloaded Microsoft’s Pro Photo Tools 2 suite, again free.  If you open one of your geotagged photos in that application you can use the built-in map function to locate where the geotag is saying the picture was taken.

I did that and was amazed to find that my pictures were all correctly geotagged.  Having done the hard work I now have a proven workflow for geotagging photos taken with my DSLR, and it did not cost me a penny.

Using the geotagging solution in practice

It’s simply a matter of making sure you take your phone on your photo trips and the geologging function is in operation from before you take the first picture in a batch, and until after the last picture in the batch.  You can keep starting and stopping the logging function.  You don’t have to change the logging file name, GPSToday just appends new time/location records without overwriting.

It is important to make sure the GPS is logged in to some satellites before starting shooting.  Best to turn the GPS on in persistent mode (see GPSToday help) and just leave it on for the day.  And check periodically it is still locked on.  You don’t want to be caught out by finding the GPS is off or not latched onto a healthy bunch of satellites as you are about to start taking pictures.

One important point: time zone.  The workflow will only work if the timestamps on the photos and the phone are in sync.  Make sure, particularly if you are travelling abroad, that the time settings on both camera and phone are in sync.

AddThis Social Bookmark Button

1 Comment

Filed under Photography, Workflow

Lightroom Catalog – post-crash recovery

Barely 6 months old, my Seagate FreeAgent 500GB external drive died on me a few days ago, taking my photo files with it. Its demise was quite sudden, following a short illness whose chief symptoms were that some files or folders started to “disappear”.

If I had been using a Drobo or a RAID array the loss of a drive would have had no impact at all, but at least all was not lost.  I had a backup in the cloud. For around a year I had been using the excellent Jungledisk system which automatically backed up all my photo related folders on the FreeAgent drive to Amazon’s S3 data storage platform.

I ran a restore overnight, but the following morning a quick check revealed that only a part of my photo file collection had been reinstated. At first I thought this was because the relevant files and folders had not been backed up. Not so.  An inspection of the Jungledisk logs revealed that the folders had indeed been backed up in the past, but then deleted again in the last few days!

What I think must have happened is that during the nightly backup, Jungledisk could not find those particular folders on the FreeAgent (due to its deterioration), interpreted their absence as the result of a deliberate deletion and accordingly removed them from the backup in the cloud.  Thankfully, Jungledisk is a well designed system that keeps archived versions of backed up files for a period, as a safeguard against unintended changes or deletions. All my files were there and I was able to get them back.  The archived previous versions all had “ARCHIVExxxxxxxxx-” prepended to the file name (where “xxxxxxxxx” is an ID number) and as there were hundreds of these files I had to write a short Visual Basic 6 program to go through all the file names, stripping out the prefixes.

At last I was ready to open Lightroom 2 and recreate my catalog, the latest catalog files having been lost. This worked fine except for the fact that none of the development histories in the imported DNG files was present.  The image displayed in each case was after the latest adjustments made in Lightroom but the history tab showed no record of those adjustments.

Now I had Lightroom set up so that XMP data would be saved automatically to the DNG file and believed, in my naive way, that this would include the step by step history of adjustments made in Lightroom in the past. Well, it doesn’t. The only way to recover those is to retrieve the relevant catalog files, it seems, as that is the only place they are saved. Without the original catalog files, you have the choice of using the fully adjusted version as is or resetting back to the original RAW import.

I had been exporting my catalog as a .lrcat file periodically and found a reasonably recent export in one of the archived folders on Jungledisk. I then imported that catalog and suddenly I was nearly back to normal.  All development histories were back, as were flags, ratings, etc. The catalog had been nearly up to date and from there it was easy to get back to a fully recovered position.  Not as easy as if I had had a Drobo but not too terrible either.

This unpleasant episode does underline the importance of making regular exports of the catalog files or ensuring that the ones in use are backed up. So back up those image files but don’t forget to back up the catalog files too.

AddThis Social Bookmark Button

1 Comment

Filed under Backup, Photography, Workflow

Workflow questions #1.1 – Taking notes in the field

This post considers the options in response to question 1.1 posed in my earlier post: the questions you should be asking yourself about your workflow.

The question was:

1.1 What are you going to do about taking notes that will help you process your pictures correctly later?

This is something I confess hadn’t occurred to me at all until Scott Bourne, wildlife and landscape photographer, recounted an anecdote while being interviewed about workflow on the popular This Week in Photography podcast.  In particular it was episode #62.

Scott was talking about a student of his who, on examining his images on the computer after a day’s shoot, spotted a series all of the same subject where all but one were clearly over or underexposed.  So he deleted all but the correctly exposed one.  Only when it was too late did the realisation hit him that he had destroyed a sequence he had intended to combine into a High Dynamic Range (HDR) image.

Scott mentioned he sometimes writes the letter “H” on his hand and takes a photo of it to remind himself that the following sequence of exposures are for blending into an HDR.

There are photographic situations like that, when you will not be able to process some of your images correctly without reference to contemporaneous information about conditions, circumstances or intended use.  If you are going to be taking a lot of pictures in a single shoot, it may be dangerous to rely solely on your memory, especially if you might not get an opportunity to process your images for some days.

Another example: it might be helpful to record information about ambient lighting (eg indoors under tungsten bulbs) to help you set white balance later.  Or you might have decided to deliberately underexpose because you wanted to preserve highlight information, but with the intention of correcting later.

Before considering the options, we need to think about the criteria we will use to assess them.  These are the criteria I will use in this post, and in other posts which address questions about workflow:

COST

CONVENIENCE

RISK

QUALITY

(I’ll use a RAG colour coding system)

There will inevitably be a balance to be struck between these.  The choice you make for yourself will most likely reflect the compromise which makes most sense in your own circumstances.

Suggested options:

a) Don’t bother – rely on memory

This is fine if you rarely take large numbers of images between processing sessions, don’t indulge in “special” shots (where the processing has to complement the camera settings), or are blessed with an eidetic memory.

COSTCONVENIENCERISKQUALITY

b) Use a notepad

Make sure you have one in your camera bag and a supply of pens or pencils.  Record the date and location, and any pertinent info about shots you’re taking.  You can go into detail if you need to. The drawback is relating your notes to specific images.  You really need to check your camera for the relevant image file numbers, which can be a nuisance.  And don’t lose the pad.

COSTCONVENIENCERISKQUALITY

c) Write on your hand and take a photo as per Scott Bourne

Great for something simple like introducing an HDR sequence. Not so good for intricate notes when you’re doing something complicated.

COST - CONVENIENCE - RISK - QUALITY

d) A voice memo device


There are small dedicated voice recorders available and many mobile phones support voice memos.  It may though be hard when back at the computer to find info about a specific shot if it’s in the middle of a recording.  And, as with the notepad, you need image file numbers.  Some (expensive) cameras support voice memos which at least takes care of associating each voice memo with the corresponding image.  Applications such as Adobe Lightroom are starting to support camera-recorded voice memos.

COST - CONVENIENCE - RISK - QUALITY (dedicated device / mobile phone)

COST - CONVENIENCE - RISK - QUALITY (camera voice memo)

These are just my thoughts.  Please suggest any solutions of your own.


AddThis Social Bookmark Button

Leave a Comment

Filed under Photography, Workflow

The questions you should be asking yourself about your workflow

Workflow is a big subject, and far more important than is often realised, even for the amateur photographer.

If you have a well thought through workflow that suits your personal circumstances and preferences, then you can stop wondering and worrying about how to get things done quickly and conveniently. The backroom processing will become a familiar, comfortable routine, freeing you up to concentrate on enjoying your photography.

So how do we nail down that ideal workflow? There is no “one size fits all” solution, because needs will vary depending on whether you are a professional or taking photos purely for pleasure, on your throughput of images, on how much you can afford to spend on software and equipment, on the kind of photography you are interested in, on whether you shoot in studio or on location, on your personal preferences, etc.

So instead of attempting to prescribe a workflow, I’m going to suggest a series of questions you should be thinking about, covering all aspects of your photographic process from click to print. Your individual answers, reflecting your own preferences and circumstances, should help lay down the basis of a workflow that will work for you.

In this post I’m putting forward the questions. In future posts, I’m going to be taking each of the questions in turn and looking at the pros and cons of various possible approaches. I am assuming throughout that we are talking about digital photography and that a computer will be used somewhere in the workflow.

Firstly, a recap of my own definition of photographic workflow, from an earlier post:

Workflow means a systematic, planned and repeatable pathway for transitioning the image data captured in the camera into usable images and safeguarding them in organised, secure long term storage

Following from this definition, here are the questions that need to be answered for each stage of the process:

(The symbol denotes a link to the corresponding post suggesting some possible answers)


1. In the field

Note that for this purpose “field” means the place where you are shooting, which can include home and studio.

1.1 What are you going to do about taking notes that will help you process your pictures correctly later?

1.2 What aids will you use to assist with later adjustments to white balance, exposure, etc?

1.3 Are you going to shoot RAW, JPEG or both?

1.4 Which colour space will use use?

1.5 Are you going to use one large memory card or several smaller ones?

1.6 Are you going to use external devices to safeguard your images in the field?

1.7 Are you going to delete “dud” images in-camera?

2. Transition to the computer

2.1 How will you physically transfer digital image data from the camera (or other storage device used in the field) to the computer?

2.2 In what file format will the transferred images be saved on the computer for subsequent processing?

2.3 What will you do about the physical organisation of image files on your computer so that you can locate and identify them later?

2.4 Will you add tags to help identify or search through your images?

2.5 How will you incorporate tethered photo capture? (added 20/2/09)

3. In-computer processing

3.1 What software will you use?

3.2 How will you select and deal with discards?

3.3 How will you standardise your processing?

3.4 To what extent will you use presets?

3.5 How will you approach sharpening?

3.6 How will you deal with noise?

3.7 How will you handle HDR and other specialised processing?

4. Transition to web

4.1 What file format will you choose for images to be displayed on the Internet?

4.2 Which on-line medium will you use?

4.3 How will you upload your images?

4.4 How will you deal with colour calibration?

5. Transition to print

5.1 Will you use your own physical printer or a third party printing service?

5.2 How will you deal with colour calibration?

6. Transition to long term storage

6.1 What file format will you use for long term storage?

6.2 Will you use a physical backup medium, the “cloud” or both?

6.3 How will you organise your backed up files for ease of location and retrieval?

7. Administration

7.1 What routine housekeeping tasks are required?

7.2 What additional record keeping do you need for your business?

7.3 What about links with your accounting system?

7.4 How should you document your workflow? (added 8/1/09)

I’ve probably forgotten loads of important questions.  If you can think of any please let me know and I’ll incorporate them.

AddThis Social Bookmark Button

1 Comment

Filed under Photography, Workflow

DNG is bigger than Adobe

I took a detailed look at workflow a while back, concentrating on the choice of file formats for image capture, processing, end use and storage.

At the time I was gravitating towards use of RAW plus XMP (sidecar) files for permanent storage, but I have since changed my mind. I now convert all my RAW files to DNG when I import them into Adobe Lightroom and regard DNG as the best long term format.

Having all your processing changes recorded in a separate file is messy and there is the risk of the RAW and XMP getting separated if files ever have to be moved around. Better combine them within a single DNG file. In effect, the DNG format brings the RAW data and the processing information in the XMP together under the safe umbrella of a single file.

And what’s the point of holding onto the original RAW file? The obsolescence risk must be higher than with a DNG. The format is becoming too widely used now to imagine that it would become endangered, even if Adobe ceased to trade.

Most importantly, the dependence on Adobe software to open and manipulate DNGs is reducing.  If all else fails, the open source GIMP application can be used as a DNG-compatible Photoshop replacement. The fact that GIMP is open source should make it “immortal” or at least much less likely to die. If the vendor of a proprietary program goes under, the closed source code it owns would very likely disappear with it.

DNG is bigger than Adobe now.

AddThis Social Bookmark Button

Leave a Comment

Filed under Photography, Workflow

Workflow and the amateur photographer

At some point nearly all owners of digital SLR cameras (DSLRs) will have to face up to the question of how to organise their “workflow”, amateurs and professionals alike.

By workflow, I mean a systematic, planned and repeatable pathway for transitioning the image data captured in the camera into usable images and safeguarding them in organised, secure long term storage.

That may sound a little overelaborate for a mere enthusiast, but it follows naturally from the decisions you have to make about what you will do with your images once they are out of the camera. Are you going to work with RAW image files or JPEGs? What tools are you going to use to make adjustments, crop, retouch? How are you going to organise your photos on your computer so you always know where to find images, and know which ones are finalised, unprocessed or rejected? Which formats will you use for long term storage of your final images? What are you going to do about backing up your images?

Even if you only address this at a simplistic level it leads to a form of workflow. There has to be some pattern to the way you organise what you do with your photos or you will end up with utter chaos.

Sony alpha 100

The term Workflow tends to be associated with the way a professional photographer would organise their work. Obviously, when it’s your living you have to be able to get from raw images to prints in the client’s hands both quickly and efficiently. You must be able to find and identify images instantly and reliably, and you can’t afford to let anything get lost. The issue for amateurs (thinking particularly of DSLR-toting enthusiasts) is that most of the reasons why professionals establish workflows are just as applicable to them.

It’s more important to be organised now than in the days of film for two reasons:

  1. You are (or should be) taking lots more pictures than you ever did. The cost of the medium (film) is no longer a constraint.
  2. The “digital darkroom” is quicker, easier to use and more readily available than the chemical darkroom of yore. I’m thinking here of “digital development” applications such as Adobe Lightroom and Photoshop. For most people that means the norm will be significantly more processing steps twixt shutter-click and print.

One of the biggest decisions to make is to settle on a file format for permanent storage of processed images, particularly if you work with RAW images as I imagine many DSLR owners will do.

In an ideal world you’d want your permanent record of your final images to be:

(1) LOSSLESS

That is, your final image is preserved with no loss of quality.

(2) USABLE

If you want a duplicate print or belatedly put a photo on the web, you want to be able to do this quickly without too much work. So if you decided only to keep your RAW files, say, you’d have some work to do to recreate a print and might not be able to reproduce your exposure, white balance and other adjustments exactly unless you kept a separate record somewhere.

(3) COMPACT

You will in general be storing your images on your computer hard disk and disk space is not limitless. Have you noticed the size of a TIFF file created from a RAW image, particularly if your DSLR has a resolution of 12MP or 14MP? If you back up your photos on optical media or in the “cloud” it will be costing you that much more if your file sizes are large.

(4) FUTURE PROOF

If the file format becomes obsolete your old photos may become unusable, or you could find yourself having to convert large numbers of old photos to newer formats, time and time again.

And the nominees are …

(a) JPEG

The trusty ubiquitous JPEG. Universally recognised and the mainstay of photos on the web. Doesn’t score all that well on LOSSLESS. It is a lossy compressed format, given to compression artifacts. It only records colour information to 8 bits whereas most DSLRs output colour data to 12 bits of resolution so there is always some loss of colour precision and colour gradation. Therefore, if you wanted to go back later and make a very large print, you would no longer be able to get the same quality as if you had kept the RAW file.

Obviously the JPEG is eminently USABLE. You can display it directly on the web or print using any number of applications which support it. It also does well in the COMPACT stakes, thanks to the compression. A file size of 2-3Mb can be expected starting with a 10MP image. It is also as FUTURE PROOF as anything else. I cannot imagine JPEGs losing browser support for decades to come.

The same observations apply to similar formats such as PNGs, which I am lumping in with JPEGs for the purposes of this analysis.

(b) TIFF

TIFFs can hold 16 bits of colour resolution and compression (if used) is lossless so you can use them to store your final processed photos with no loss of quality, satisfying the LOSSLESS objective.

Not quite as USABLE as JPEGs, because TIFFs are not displayable in browsers, but there are plenty of applications which can print TIFFs directly and it is not hard to convert a TIFF to a JPEG or PNG as needed for web display.

The biggest problem is that TIFFS are decidedly not COMPACT. A TIFF will be considerably larger than the corresponding RAW file because it records the separate red, green and blue components for each pixel emerging from the “demosaicing” process whereas RAW files hold the bare Bayer array data which only records data for one colour per pixel. That inflates the file size by a factor of three, and the fact that it records colours to 16 bits not 12 inflates the file size by a further one-third. Such compression as available is lossless and might or might not have a significant impact on the final file size, depending on the characteristics of the image. Uncompressed 16 bit TIFFs made from high resolution RAW files are massive beasts indeed, commonly 60Mb or larger. They are though probably as FUTURE PROOF as JPEGs.

(c) RAW

The RAW file is by definition LOSSLESS. The biggest drawback is that it is not directly USABLE. If you only kept the RAW file then you would need to repeat your digital darkroom work before you could obtain a print or recreate a JPEG for web use. If duplicating a print it might not come out exactly the same the second time unless you kept a very detailed separate record of exposure, colour balance, other retouching. In most cases impractical. Keeping the RAW plus corresponding JPEG of the final image would help with usability.

RAW files are reasonably COMPACT at around 10Mb for a 10MP image. Obviously a lot bigger than JPEGs but still manageable by today’s standards, and considerably smaller than TIFFs.

Not necessarily FUTURE PROOF. RAW formats are proprietary, varying from manufacturer to manufacturer, and manufacturers bring out new ones from time to time as the capabilities of their camera models change. You cannot assume that the version of Photoshop released in 10 years’ time will recognise a RAW format no longer being used by a given camera manufacturer for current models.

(d) DNG

DNG (Digital NeGative) is Adobe’s attempt to establish a universal RAW format, to tackle the concerns about future proofing. A very few cameras do use DNG as their actual RAW format and you can convert proprietary RAW files to DNG using say Adobe Photoshop with no loss of quality.

The problem is that the market has not bought into DNG wholesale, at least not yet. DNG is becoming more widely accepted but very much at a snail’s pace, while manufacturers continue to bring out one new proprietary RAW format after another. Unless DNG can become properly established then it is at risk of falling by the wayside so more hindrance than help in the future-proofing stakes.

I think this is because DNG is Adobe’s which makes it just as proprietary as Canon’s or Nikon’s formats. Manufacturers might be more accepting of a standard introduced by an industry group, like JPEG.

(e) RAW + XMP

The XMP file is the “sidecar” file created automatically by Adobe applications such as Lightroom and Adobe Camera Raw to record the sequence of adjustments you make to a RAW image. Lightroom, for example, makes no changes to the RAW file as you adjust exposure, sharpness, colour balance, cropping etc. It just saves a text record of what you do in an accompanying XMP file. Whenever you reopen Lightroom and select an image the changes you made previously are retrieved from the XMP and reapplied to the intact RAW image file, and the processed image can readily be printed or exported to TIFF/JPEG/PNG, etc.

This is a great solution in terms of LOSSLESSness, COMPACTness and USABILITY. There is a big question mark though over FUTURE PROOFing, both because RAWs are not future proof and because you have introduced a dependency on Adobe software.

I am currently going with option (e) despite the future-proofing issue, accepting there is no perfect solution at the moment.

AddThis Social Bookmark Button

8 Comments

Filed under Photography, Workflow

Photos in the Raw

Like most digital SLRs on the market, the Sony A-100 I bought last year gives you the option to save your images in “raw” format. That is, the raw exposure data off the camera’s array of light sensors with a bare minimum of processing. Simultaneously, it saves the same image ready-processed as a JPEG. The raw files are around 10Mb in size whereas the JPEGs are generally 2-3Mb.

Is there a point to raw format, though? It takes up a lot of space on my memory card so it is important to understand how to use it, and what it can do for you that JPEG can’t. I wondered if it might be aimed mainly at “advanced” users or professionals.

From the outset I set the camera to save both raw and JPEG versions of every shot. I had an instinctive fear of losing something I couldn’t get back if I only saved the JPEGs. The in-camera on-the-fly processing of the raw sensor data, to create the JPEG, is irreversible. You can recreate a JPEG from the raw data but not the other way around. And JPEGs are compressed. That must mean “lower quality” because JPEG compression is lossy.

I bought my Sony in Hong Kong while on an expensive holiday in the Far East, so I was blowed if I was going to throw away irreplaceable data underpinning my once in a lifetime shots of the great sights of China and Japan. My Compact Flash card had other ideas. I know I should have bought a more capacious one. I had my laptop on the holiday so I could keep transferring data to the hard disk each evening, but still found the card filling up far too fast in normal use. I switched to shooting JPEG only. I reasoned that I’d get better pictures by taking lots of JPEGs and picking the best, than by shooting fewer, in raw format, and hoping that the capabilities of raw format files might help me rescue some of the poorer shots.

All the same, I have now accumulated a lot of raw files in the 10 months I’ve had the camera. They account for a fair chunk of the 16 or so Gb of data I now have backed up on Amazon’s S3 data store in the cloud, which does cost me money. Not a lot I grant you, but over time it adds up. I’m really not sure whether those raw files are worth hanging on to. When, realistically, will I ever revisit any of them?

What might convince me about raw format is if I ever encountered a single shot where I was able to produce an image from a raw file that was visibly superior to the best I could have achieved working only with the JPEG saved by the camera. To date that has not happened, and it’s not that I have never dabbled with raw. I have used Sony’s own converter program, and also a free tool called Raw Therapee which is the personal project of one Gábor Horváth. To say that it is the work of a lone enthusiast, it has a stunningly professional interface and far more options and flexibility than Sony’s effort. But I am still unable to reap any real benefit from raw.

Maybe I just haven’t yet worked out how (or in which circumstances) to use it.

I don’t believe raw format gets you sharper pictures than JPEG, though some have claimed they can see a difference. Maybe at giant magnifications. Raw Therapee gives you a choice of three high powered demosaicing algorithms, but the results are awfully hard to tell apart – from the camera’s own JPEG and from each other.

If you’ve overexposed and blown the highlights you can, or so I understand, get back half a stop’s worth in raw. For the same space taken up on your memory card you can take four or five bracketed exposures, pick the best and save all that messing about on the computer.

I’m coming to the view that raw format is the sort of thing geeky enthusiastic amateurs get overexcited about. You know what I’m getting at. The obsession with technology and gadgetry at the expense of art. More time spent fiddling with settings in a raw converter program to no great benefit, as opposed to time spent in the field getting more and better pictures in the first place.

I really don’t think professionals make much use of raw. They really don’t have the time to piddle around trying to rescue imperfect shots with software. Their skill is what they do with camera in hand, not mouse and keyboard. Take lots of pictures, frame and expose them correctly. Pick the best and discard the rest mercilessly. Meet your client’s deadline and move on to the next assignment. Who the hell has time for raw?

AddThis Social Bookmark Button

2 Comments

Filed under Photography, Workflow