RAW format: what is it. RAW or JPEG which is better? What is RAW in a camera? Shooting raw

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 of all types, media, DVD, BlueRay players, digital photo frames and other devices ) are able to 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. In addition, 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 the best quality have a larger size in megabytes; fewer images 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. Modern devices have up to 36 megapixels, print format is 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 (bluish tint) comes in from the window. 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 - 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 white balance settings. 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 (the white jacket of the left character was used as a white sample)

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 the information on a PC using a special program - a 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 different rooms had different lighting - in some there was daylight from the windows, in others there was 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.

The option of manually setting 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 with standard camera settings.

The Digital Photo Professional program allows you to “retrospectively” set the color rendering settings of the image, 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 is taken in RAW format. With JPEG most features are not available.

It must be said that the Digital Photo Professional program has relatively little functionality compared to the popular Adobe program Photoshop Lightroom, however, 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, and tablet computers will not display photos in RAW format. To do this, they need to be converted into JPEG format (on a PC, using software for RAW processing).

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.

Raw (English raw - raw, unprocessed) is a digital photography format containing raw data obtained from a photo matrix. Such files contain complete information about the stored signal, which does not have a clear specification (standard).

The RAW format in digital photography is similar to the negative in film: it contains raw pixel information straight from the digital camera sensor.

Raw files of digital cameras usually contain:
— discrete voltage values ​​of matrix elements (before interpolation for matrices using arrays of color filters)
— metadata - camera identification;
- metadata - technical description shooting conditions;
— metadata - default processing parameters;
— “preview”, usually JPEG of medium quality.

The RAW file was not even dematrized.

Dematrization is a complex process, so most digital cameras use quality-impacting shortcuts to convert a RAW file to a TIFF or JPEG. Personal computer with more powerful processor allows the use of more advanced algorithms. The same applies to image sharpening correction, which requires large computing resources. A RAW file simply contains the red, green, or blue values ​​of each pixel. Typically, digital cameras process this file, converting it into a full-color JPEG or TIFF file, and recording the result on a memory card.

Digital cameras must make several critical decisions when processing a RAW file, which is why the original RAW gives the author more control over how the final JPEG or TIFF will look. The author himself selects the necessary parameters in the process of converting the RAW format to JPEG on a computer.

The RAW file is converted into a final JPEG or TIFF image in several steps, each of which can make permanent adjustments to the image. One of the key benefits of the RAW format is that it allows the photographer to make adjustments to suit each image.

Types of RAW formats

Each manufacturer of photographic equipment at one time developed its own RAW format for its own camera matrices:

  • .nef, .nrw - Nikon;
  • .crw, .cr2 - Canon;
  • .arw, .srf, .sr2 - Sony;
  • .orf - Olympus;
  • .raw, .rw2 - Panasonic;
  • .raf - Fujifilm;
  • .ptx, .pef - Pentax;
  • .raw, .rwl, .dng - Leica;
  • .srw - Samsung;
  • .dcr, .kdc - Kodak;
  • .mrw - Minolta;
  • .3fr - Hasselblad;
  • .x3f - Sigma;
  • .dng - Adobe;
  • .bay - Casio;
  • .erf - Epson;
  • .r3d - Red One.

Benefits of converting RAW to JPEG on a personal computer

Dematrization

Dematization is a very resource-intensive step, and therefore the best dematization algorithms require more processing power than modern digital cameras have. Application of dematrization on personal computer allows the use of better algorithms, since its processor is usually much more powerful than that of a typical digital camera. Better algorithms can squeeze a little more out of your camera's sensor, delivering more resolution, less noise, greater tonal accuracy, and less moire.

Flexible white balance

White balance is the process of eliminating unnatural color ratios so that objects that are white appear as white in your photo. The color ratio of a JPEG image can often be changed by post-processing, but at the expense of color depth and color gamut. This is due to the fact that white balance is essentially applied twice: first during RAW conversion and then again during post-processing. RAW files give you the ability to apply white balance to a photo after shooting - without wasting any bits of waste.

High bit depth

In reality, digital cameras record each color channel with much greater precision than the 8 bits (256 levels) per channel used in JPEG images (see "What is bit depth"). Most modern cameras record each channel with 12-bit precision (2 12 = 4096 levels), providing several times more color gradations than can be achieved using JPEG from the camera. High bit depth reduces the image's susceptibility to posterization and increases flexibility in color space selection and post-processing.

Dynamic range and exposure compensation

The RAW format typically provides much more "dynamic range" than JPEG, depending on how the camera creates its JPEG. Dynamic range is defined as the range of light and shade that a camera can distinguish between absolute black and absolute white. Because the original color data has not been logarithmized using curves, the exposure in the RAW file can be subject to exposure compensation later. Exposure compensation allows you to correct metering errors or can help bring out details lost in the light or shadows.

Enhanced Clarity

Since the RAW file was not processed, the camera did not apply sharpening correction to it. Just like dematrixing, the best sharpening algorithms are more resource intensive. Thus, sharpening performed on a personal computer may cause fewer halo defects for a similar degree of correction.

Since sharpness depends on the intended viewing distance of your image, the RAW format also provides more control over what type and amount of sharpening correction will be applied (at your discretion). Sharpening is usually the final step in post-processing because it can't be undone, so having a JPEG already adjusted is suboptimal.

Lossless compression

The RAW format uses lossless compression and therefore does not suffer from the compression defects seen in the lossy JPEG compression. RAW files contain more information and are more compressible than TIFF, without the compression defects of the JPEG format.

Disadvantages of the RAW format

  • RAW files are much larger than similar JPEG files and therefore fill up your memory card faster.
  • RAW files take longer to process because they may require manual work at every stage of conversion.
  • RAW files often take longer to write to the memory card, resulting in fewer frames per second than the JPEG format.
  • RAW files cannot be immediately presented to viewers and customers because they require special programs for your download, and therefore they must first be converted to JPEG.
  • RAW files require a more powerful computer with more random access memory (RAM).

Other Considerations

One of the problems with the RAW format is that it is not standardized. Each camera has a different RAW format, and it may be that one program is unable to read all formats. Luckily, Adobe has announced the Digital Negative (DNG) specification to standardize the RAW format. In addition, any camera that is capable of storing RAW files should come with its own program to read them.

Good RAW conversion programs can do batch processing and will often automate all steps of the conversion except the ones you want to change. This may reduce or even eliminate the ease of use advantage of JPEG files.

Many new cameras are capable of recording both RAW and JPEG simultaneously. This allows you to get the final image immediately, but also keep the negative in RAW in case you want more flexibility later.

Results

So which is better, RAW or JPEG? There is no definite answer, since it depends on the type of shooting. In most cases, RAW files are The best decision due to its technical advantages and cost reduction large maps memory. RAW files give the photographer much more control, but at the expense of processing speed, space footprint and ease of use. Sometimes for sports and journalism, the hassle of RAW processing is not worth it, while landscape and fine art photographers often choose RAW to squeeze the maximum potential quality out of their digital camera.

Welcome to my blog again. I’m in touch with you, Timur Mustaev. As soon as a novice photographer masters the controls of his camera, he begins to wonder what the RAW photography format is. In this article you will find out what it is, why it is better to photograph in RAW format and what benefits can you get from it? Let's start with the analysis in order.

Definition of the concept

Let's start with the simplest question. What is raw format?

RAW(from the English word raw - raw) - one of the data formats containing raw information that is obtained directly from the photo matrix. That is, the file stores full information about the image.

In the world of photography, the "raw" format is perfect because only serious cameras allow you to use this format.

Important! RAW is the common name for the format. But it’s worth knowing that in Nikon the RAW format is NEF, and in Canon it’s CR2.

Pros and cons of this format

Advantages:

  • The file width varies from 12 to 14 bits, while JPEG has only 8 bits. What gives this parameter? It prevents the appearance of pasteurization - the appearance of color jumps when changing brightness instead of smooth transitions.
  • can be configured either before or after shooting, in other words, can be later processed in the editor.
  • Many shooting parameters become raw material for “sculpting” the ideal image. They can be easily changed. What are these parameters?
  1. Digital noise (removing it is much easier than in other formats);
  2. Presence of sharpness (increased indicator);
  3. Brightness;
  4. Saturation;
  5. Colour contrast.
  • Correction can correct even difficult optical imperfections such as vignetting or aberrations.
  • Using all the possibilities will allow you to normalize photos in terms of brightness, that is, avoid overexposure or dark areas in which information about details is completely absent.
  • The original information remains intact during editing; you can always start a new file conversion.
  • Different converters present a RAW file in different ways, so a photographer can easily find one that suits both management and creative criteria.
  • The photographic latitude of a RAW file is significantly higher than that of a JPEG. This helps with contrast shots and when shooting on a bright sunny afternoon.

Disadvantages of the format:

  • The recording speed to the camera's memory card is slow, so shooting more than 6 frames/sec will not be possible.
  • Occupies more memory compared to JPEG because it has more information about the image.
  • Quick viewing of these images will not work, since it can only be opened through a converter - a special program that reads this format.
  • A “raw” file cannot be sent to social networks, to a blog, sometimes even sending via e-mail. This will only become available after the file has been converted.
  • You need to try several programs for viewing raw files to choose the best option for yourself.

When should you shoot in raw format?

  1. You have more time to process the photo.
  2. You have no memory limitations for storing photos.
  3. You have the desire and confidence that you see and can convey the world better than a soulless camera.
  4. You love deep, long-term creative processing of your images. In this case, the excess information will act as auxiliary material for you.
  5. You want to get the most out of your camera and make the most of the dynamic range. Those objects that are not included in the dynamic range appear either overexposed or strongly darkened, that is, they are deprived of all details.
  6. You don't like photos taken in JPEG format. You are confident of getting the best quality photos in RAW format.

Opening a raw file

How to open a file?

One of the most simple methods– double click on this file. In this case, Windows must choose the default program to open such files.

If the file does not open, what should I do? The main reason is the lack of an application program for viewing and processing such “raw” extensions. Therefore, you need to install it!

Converter programs

How to open RAW format?

The most simple program for opening and processing must be provided by the SLR camera manufacturer itself in the kit on disk. So, Nikon has Nikon Imaging and Capture NX, and Canon has Canon Utilities RAW Image Converter.

If we talk about more professional programs, then the most popular utility is Adobe Photoshop Lightroom. It will help not only process the photo, but also send it for publication for sale.

The second most popular is the well-known Photoshop. I would like to note that you can’t get rid of it just by installing the program. You need to install a helper plugin Adobe Camera RAW, which will translate information for Photoshop into an accessible language.

Today, this plugin already includes the Photoshop graphic editor by default, so you don’t have to worry about additional downloads.

The main disadvantage of both Lightroom and Photoshop is the price of the license.

Now I want to make a list of free programs that are less common:

  • « Microsoft Camera Codec Pack"- official file, suitable only for Windows OS! Includes many formats. Easily downloaded from the official website and allows you to view any photo.
  • XnView – free utility, which supports 500 formats and has some simple processing functions, such as changing the brightness and resolution of the image.
  • IrfanView- demon paid program for viewing and minor editing. Has batch image conversion. There are many plugins to expand the program's capabilities.
  • ACDSee– a paid program that costs $99.99. It is used not only for viewing, but also for editing and even sorting images. In addition to everything, you will receive your own cloud storage.

  1. Take photographs in RAW format, taking into account subsequent processing in a graphics editor.
  2. You only receive material for your future photography - remember this!
  3. Set the white balance using the available modes, that is, approximately. More precise settings can be made later.

Personally, I photograph in 2 formats at the same time, this is RAW + JPEG of good quality. What is this advantage? It's simple. After hundreds of photographs taken, review and selection are necessary. Therefore, in JPEG format I look through all the photos I took and delete unnecessary ones (including raw ones). After that, you can work with the rest, that is, process and bring to mind.

Important! Please know that any photograph taken either with an amateur SLR camera or with a professional one needs processing.

Finally, this is my advice to you. If you really want to learn how to take high-quality photographs and process them correctly, develop and improve in this area, do not stand still. This will bring you more emotions and positive impressions from photography.

Here are a few video courses to start your development with:

  1. or My first MIRROR. This video course is a big cheat sheet for mastering all the nuances of photography and mastering a DSLR. This is your assistant in the world of high-quality photographs. The course is very simple and contains practical examples.
  2. Lightroom is an indispensable tool for the modern photographer. The video course is good because everything is explained in detail with examples, in a very simple and understandable language. All processing examples are shown in RAW format. I highly recommend it, especially for beginners!
  3. Photoshop from scratch in VIP 3.0 video format. For people who want to learn how to work in Photoshop. All the basics to become a processing professional.
  4. Photoshop for the photographer 3.0. VIP. This course is specifically for photographers who do not stand still, but want to create masterpieces from their photographs. You will find processing, retouching and much more in this video course. All the secrets of photo processing in one course.

My first MIRROR- for lovers of CANON cameras.

Digital SLR for a beginner 2.0- for NIKON camera lovers.

This concludes my detailed article on the topic of the “raw” format. Remember that professional photographers choose the RAW format because it is the material to transform their creative ideas! Share on social networks and also subscribe for further updates of my blog.

All the best to you, Timur Mustaev.

Should I compress RAW in camera? What to choose: 12 or 14 bits. A comparison of RAW format options, a quick overview of RAW by brand, and recommendations for use.

RAW files are unprocessed, “raw” data from the camera sensor. This means that post-processing images captured in this format can restore a great deal of detail, even in deep shadows or very light areas of the image. You can see such a restoration using a specific example in this article.

Meanwhile, not all RAWs are the same, that is, not all RAWs can yield the same amount of information. Let's look at what types of raw files there are and what the difference is between images with compression (lossy), with lossless compression (lossless) and without compression (uncompressed).

Why compress a RAW file?

There are several reasons why manufacturers offer RAW file compression. The main one is saving space. More compressed RAW files can be written to the same memory card than uncompressed ones. In addition, reducing file size affects the entire workflow associated with shooting, post-processing and storing photos.

Accelerates recording and transferring files. Compressed RAW files are physically smaller, so the camera will write them to the memory card faster. It also reduces the time it takes to transfer files from a memory card to a computer or external storage, sometimes quite significantly.

Increased continuous shooting speed. Files smaller size take up less space in the camera buffer, which can potentially increase your burst of continuous shooting. But it is not always the case. For example, in older cameras, RAW compression, on the contrary, reduces the number of frames per unit of time, since the compression process is very processor-intensive.

Reducing resolution. Some cameras offer to reduce the resolution of RAW files either by cropping the image or using downsampling - reducing the number of pixels in the image. If the first option is not associated with RAW compression, then in the latter the compression, and with it the data loss, can be very large.

Lossy compression/lossless compression/no compression

Depending on your camera make and model, you may have different options for RAW. The most common options are compression, lossless compression, and uncompressed.

  • Compressed files. By default, compression means the loss of some data, sometimes quite significant and important, which limits the possibilities for post-processing such RAW. For example, Sony cameras use lossy compression by default, which can cause artifacts to appear around objects, as in the image below:
  • Lossless Compressed files. Lossless compression can be compared to archiving a file - no information is lost. During post-processing, all data is “unarchived”. This perfect option, because there is no data loss, but the image takes up less space.
  • Uncompressed files. Uncompressed RAW files contain all the data, without any compression algorithm, so their size will be huge. You should only use this option if you need to save all the information, but the camera does not offer lossless compression options.

12 bit/14 bit/16 bit

In addition to different levels of compression, raw images can store different numbers of shades per color channel per pixel - this is called "bit depth". Most cameras shoot 12-bit RAW by default, which is 4096 colors per channel (red, green and blue). Multiplying 4096 by 4096 by 4096 (three channels), we get approximately 68.72 billion color options per pixel.

14-bit RAWs provide 16,384 color options per color channel, resulting in 4.39 trillion shades per pixel. And while most modern digital cameras don't yet offer 16-bit RAW, when it does, it will deliver more than 281 trillion colors per pixel.

RAW Compression: File Size Comparison

Let's take standard image in RAW, shot on Nikon D810, and look at the file size depending on the bit depth and compression options:

Compression ratio File size (12 bits) Decrease in %* File size (14 bits) Difference in % *
Compressed 30.066 MB 60.9% 37.055 MB 51.9%
Lossless compressed 32.820 MB 57.4% 41.829 MB 45.7%
Uncompressed 58.795 MB 23.6% 76.982 MB 0%
*Compared to uncompressed 14-bit RAW(76,982 MB)

As you can see, the difference between 12 and 14 bits is quite large, as well as between compression options. And when it comes to large numbers of images, you might think that shooting in 12-bit compressed RAW a good choice, because the size of such files is as much as 60.9% smaller than the size of uncompressed 14-bit RAW.

But it all depends on how you shoot, what you shoot, and how much information you typically extract from the dark and light areas of the image in post-processing. For example, if you shoot well-lit portraits and do minimal editing, 12-bit RAW is fine.

But if you are engaged in landscape photography, astrophotography, and you need to preserve as much information as possible in all areas of the image, then it will be more reliable to shoot in 14-bit RAW with lossless compression. This way you can get the most out of the sensor and still get files that are almost half the size of uncompressed RAW. The extra 15% compression percentage (up to 60.9% of 12-bit compressed RAW) isn't worth it if it limits your post-processing capabilities. Keep this in mind when choosing bit depth and compression ratio.

Another important point— some cameras do not allow you to change these characteristics. Most amateur cameras usually have 12-bit compressed RAW in their default settings. More advanced models have 14-bit RAW, losslessly compressed.

Let's see what different popular brands offer us in this regard.

Nikon

For Nikon DSLRs, bit depth and RAW compression options vary depending on the model. On most beginner and amateur cameras, you can only choose the bit depth - 12 or 14 bits - but not the compression method. This means that these cameras have lossy compression set by default. On high-end professional cameras, Nikon typically offers three compression options: compressed, lossless compressed, and uncompressed:

Canon

The cameras of this company do not allow you to select either the bit depth or the compression option, so you need to look in the user manual to see what options are offered specific model. Most entry-level Canon cameras shoot 12-bit RAW with lossless compression, most professional cameras shoot 14-bit RAW, also with lossless compression.

Fuji

All Fuji X series cameras in the first generation could only offer 12-bit. Now all modern cameras with an X-trans matrix shoot 14-bit RAW by default. Fuji doesn't allow you to change the bit depth through the camera menu, but on some models you can choose the compression yourself:

Sony

Unfortunately, all modern Sony cameras only offer lossy compression using the “11 + 7 bit” scheme. After numerous user complaints, the company has added the ability to shoot uncompressed RAW on some cameras, such as the Sony A7R II, but this results in huge file sizes. Sony currently does not have cameras that can shoot losslessly compressed RAW.

Modern man is literally entangled in various stereotypes. This is true for almost any field of activity, and, alas, digital photography is no exception.

We only have to regret that many novice photographers who decide to acquire more or less serious equipment underestimate the possibilities that open up when saving images in RAW format, and, out of old habit, continue to record frames exclusively in JPEG. Briefly, the stereotype widespread among amateur photographers can be formulated as follows: yes, theoretically, saving images in RAW format allows you to obtain certain advantages in the image processing process, but in practice this creates a number of additional difficulties and problems for the photographer. Having fallen into the web of this stereotype (on their own or under the influence of more “experienced” and “advanced” colleagues), many do not even try to figure out whether this is really so, and without hesitation they set the camera to save photos in JPEG format.

Benefits of the RAW Format

Let's start by looking at the fundamental benefits that a photographer receives by saving captured footage as a RAW image. Perhaps the most important advantage of this format is the ability to intervene in the process of “developing” a digital photograph and change certain settings at your own discretion after shooting. In this case, the photographer can try many options and ultimately choose the best one. If you save the image in JPEG, this option will no longer be available: during the process of converting the original image of the image into the finished file, the settings set in the camera menu at the time of shooting will be applied to it.

A frame saved in JPEG can be compared to a ready-made dish purchased in a supermarket. Just warm it up and you will get what you want. In turn, a photograph in RAW format is, figuratively speaking, a piece of raw meat (may readers forgive the involuntary pun). With the right approach, you can prepare dozens of different dishes from it, and with a sufficiently high quality of the starting material (and the appropriate qualifications of the cook), even real culinary masterpieces. Of course, another option is also possible: the natural result of the inept actions of an amateur often becomes an unattractive pile of coals.

As a result of an error in choosing exposure settings, the photo (left)
It turned out a little overexposed, as a result of which some of the detail in the highlights was lost.
While processing the file saved by the camera in JPEG format, it was not possible to restore details in the highlights (in the center).
The desired result was achieved only after processing the RAW image of the image (right)

The same thing happens with photographs. With good lighting, the correct choice of angle, exposure and other settings, a frame saved in JPEG usually does not require further modification (except perhaps for cropping and scaling) and can be immediately saved in a virtual photo album, sent to friends, published on the Internet, or printed on the printer, etc.

Here it is appropriate to draw parallels with amateur photography of the pre-digital era. A frame saved by a camera in JPEG format is much like a Polaroid snapshot. In turn, the image of a photograph in RAW format can be compared to a negative. Even if some mistakes were made during shooting, the influence of many of them can be corrected (or, according to at least, minimize) in " dark room» in the process of printing photo cards.

Unfortunately, this comparison does not fully reflect the gap that lies between images saved in JPEG and RAW. Indeed, unlike classic film, RAW files provide the photographer with much more O greater freedom of action: the same photograph can be “developed” many times, using different software and combinations of settings, and therefore obtaining completely different results.

Below is a histogram of the original image,
top - its view after level correction
through color channels.
The appearance of the latter resembles a comb,
which indicates the loss of a part
useful information in process of treatment

Another important aspect is providing more comfortable conditions during the shooting process. By saving frames in RAW, the photographer can ignore the numerous camera menu settings, which allows him to concentrate on solving the creative problem. It is enough to pay attention to the correct choice of exposure value, depth of field and focus point. Other parameters can be adjusted retroactively. This is especially valuable when photographing moving objects or when weather conditions change quickly, when there is simply no time to manipulate many settings. Moreover, not all cameras can be reached “with one touch”.

Of course, a JPEG file can also be processed after shooting in a graphics editor in order to correct unwanted consequences by mistake installed settings. However, in this case, you will have to come to terms with the inevitable loss of some useful information contained in the original image.

The fact is that cameras record JPEG files in the RGB color model with a bit depth of 8 bits per channel. After processing, the image will be saved with exactly the same parameters. As a result, in the process of changing the settings of the black and white points, the shape of the tonal curves, as well as brightness, contrast, and saturation, some of the useful information contained in the original image will be irretrievably lost. The consequence of such losses are characteristic artifacts in the processed image, such as pronounced gradation in smooth tonal transitions, a violation of color balance (most noticeable in areas with neutral gray and flesh tones), an increase in the level of digital noise in the shadows, etc.

The original photo (left) was taken in natural light,
however, due to an oversight by the photographer, the white balance setting was selected in the camera menu,
corresponding to incandescent lamps.
To a JPEG file saved by the camera in the graphics editor Adobe Photoshop
The Auto Levels and Auto Color functions were applied, but the consequences of the error could not be completely eliminated (center).
In the case of processing a RAW image to eliminate the consequences of an error without the slightest damage
for the technical quality of the image it was only necessary to change the white balance setting in the RAW converter (right)

If the impact on the original image was not very significant and the losses are relatively small, then such artifacts will be barely noticeable and inexperienced users are unlikely to detect them with the naked eye. However, this does not mean that some useful information was not lost during image processing. Those who don't believe their eyes (or the opinions of others) can verify this with the help of an impartial measuring tool - in other words, look at histograms of processed images. A characteristic sign of the loss of some useful information is the disappearance of individual halftones: the appearance of the histogram in this case resembles a comb.

Unlike JPEG, in a RAW file the frame image is recorded with the bit depth with which it was digitized by the camera’s analog-to-digital converter (ADC). IN modern models Digital cameras use 12-, 14-, or 16-bit ADCs, and therefore, a frame image in RAW format contains much more information about the image than a standard JPEG. That is why, even after very serious manipulations with the settings, you can get an 8-bit image from a RAW file without characteristic artifacts that would inevitably arise with similar influences on a picture saved in JPEG format. For example, the exposure value of a photo recorded as a 12-bit RAW image can be adjusted retroactively within ±2 EV without loss of detail. Accordingly, when saving RAW with a bit depth of 14 bits, the “freedom of maneuver” increases to ±3 EV. Agree, an impressive opportunity.

An example of using software gradient filters to process a RAW image of a photo.
Left: original frame with default settings.
On the right - gradient filters applied to the image
allowed us to equalize the tonal balance of the image, as well as carefully work out
the shape and texture of the parapet balusters in the foreground

One clear example that illustrates the difference in post-processing capabilities for images saved in JPEG and RAW formats is the correction of an image taken with an incorrect white balance setting. If the image was saved in RAW format, then to correct this error, simply select the white balance value in the RAW converter settings that corresponds to the shooting conditions. The ideal result in this case is achieved in one simple step.

If a picture with an incorrectly set white balance setting was saved by the camera in JPEG, then you will have to work hard in the process of processing this image. It’s good if the “miss” was small and its consequences can be corrected by shifting the black and white points in the color channels (as a rule, it is enough to use the Auto Levels function in Adobe Photoshop or a similar one in other graphic editors). It is much more difficult to correct an error if the photo was taken outdoors on a fine day and the white balance setting was set, for example, for shooting under incandescent light. Of course, even in this case, an experienced user will most likely be able to obtain a completely acceptable result, but it will be achieved at the cost of significant losses of useful information.

The ability to save images in RAW format is very valuable when shooting high-contrast scenes, as well as objects painted in bright colors. In such situations, it is easy to make a mistake in choosing the correct exposure value, and the margin for safe correction of this parameter during image processing will come in handy.

In some cases, recording pictures in RAW format will allow you to do without additional devices. For example, when shooting landscapes, photographers often use an optical gradient filter to enhance detail in the sky without compromising the tonal balance of the overall image. By saving the image in RAW format, the effect of a gradient filter can easily be simulated in Lightroom. In this case, the photographer gets the opportunity to fine-tune the position and width of the gradient transition, as well as a number of other parameters.

RAW Limitations

In the previous section, we looked at a number of examples that clearly illustrate the advantages of the RAW format in the field of image correction and post-processing. However, we must not forget that the limits of these manipulations are not unlimited. Although a RAW image contains much more information about the original image compared to a JPEG, the amount of information is still finite. Although, strictly speaking, this limitation is no longer due to the data recording format, but to the technical capabilities of the camera used - and above all, the characteristics of the photosensitive sensor installed in it.

In the Fujifilm X-M1 camera
there is a built-in image conversion function,
saved as RAW images into JPEG files
with the ability to control settings for various parameters

Thanks to the rapid development of technologies in the field of production of semiconductor components, the sensors of modern cameras are capable of capturing images with a very wide dynamic range. However, if the error in choosing exposure settings when shooting high-contrast scenes is too large, then a so-called clipping effect will occur. This means that some areas of the image will be too dark or too bright for the light sensor elements to capture any detail. As a result, such areas will be perceived by the sensor (and therefore recorded in the RAW image of the frame) as uniformly colored spots with black or white. It is clear that no software will help to “reveal” those details that were not captured by the camera sensor - and therefore are absent in the original digital image of the frame.

Another aspect that should not be forgotten is the effect of digital noise. When processing underexposed frames, it is often necessary to “pull out” details in the shadows by setting a fairly large positive exposure compensation value or brightening the shadows in the RAW converter settings. Often, a by-product of such processing is a significant increase in the level of digital noise in the resulting image, which is most noticeable in the shadows and in uniformly shaded areas. Naturally, a lot depends on both the characteristics of the camera’s light-sensitive sensor and the processing algorithms implemented in the application used. In fairness, it should be noted that if you try to perform similar manipulations with frames saved in JPEG, the end result will look much worse.

RAW processing made easy

There is a widespread belief among digital camera users that processing RAW files requires a significant investment of time and effort. In fact, this is nothing more than a misconception. It is not at all necessary to control the conversion process of each RAW file: most modern RAW converters have the function of saving copies of images in JPEG (as well as in files of other common graphic formats) in batch mode. In this case, images are converted with default settings, taking into account the information recorded in EXIF ​​about the camera settings at the time of shooting. This way you can get exactly the same JPEG files that would have been saved by the camera to the memory card. Given the performance of modern PCs, this will take very little time. In addition, during the batch conversion process, you can perform a number of other actions - scale the original images to the required size and/or file size, embed watermarks, information about the date and time of shooting, various inscriptions, etc.

In the process of viewing images obtained after batch conversion, you can select those photographs that are of a certain value due to a successfully “caught” plot, but due to certain circumstances were taken with a technical defect. Of course, you will have to do some manual magic to select the optimal settings for these frames, but the end result in this case will differ favorably from what could be obtained after processing the same pictures recorded directly by the camera in JPEG.

It is also impossible not to mention that a number of modern digital cameras (for example, the Fujifilm X-M1 model) have a built-in function for converting photographs saved as RAW images into JPEG files with the ability to control the settings of various parameters. Thus, owners of such cameras do not need a computer to convert RAW images, and this procedure can be performed even in mobile conditions.

Size matters

One of the things that casual photographers like to throw at RAW is the large file size. Indeed, the volume of a RAW image of a photo is several times larger than its copy in JPEG format, even when choosing the highest possible quality (that is, the minimum compression ratio). However, as already mentioned, a RAW image contains much more information about the original image than a JPEG. And the fact that the RAW file has a larger volume is quite natural. There is another aspect that many inexperienced photographers do not take into account.

In difficult situations - for example, when the photographer is not sure about the correct choice of exposure parameters - a completely logical solution is to shoot in exposure bracketing mode. When you select this mode, the camera takes a series of three JPEG frames with different exposure settings instead of just one photo. If you save the image in RAW format, then one frame will be enough: as already mentioned, even a 12-bit image will allow you to adjust the exposure within ±2 EV without losing detail in highlights and shadows. Thus, in the situation under consideration, the difference in file size (one RAW versus three JPEG) will no longer be so significant.

It should be noted that many RAW file formats used in modern cameras use lossless compression algorithms (like ZIP). Thanks to this, it is possible to significantly reduce the volume of saved images without the slightest loss of image quality. Moreover, at the current price level for flash memory cards, even a not very wealthy photographer can easily afford to purchase a medium capable of storing several hundred images in RAW format.

Compatibility issue

Another aspect that always comes up when comparing the advantages and disadvantages of RAW and JPEG formats is compatibility with various devices and applications.

Undoubtedly, the JPEG format is this moment is the de facto standard for storing images in in electronic format- both in the field of computers and in the field of household appliances. Photos recorded in this format can be opened in almost any web browser, graphics editor and many other applications that support working with graphic files. Most photographs and drawings on the Internet are stored in JPEG format. And finally, many devices support working with images of this format: Cell phones, smartphones, tablets, printers and MFPs with offline printing function, portable and stationary digital media players, SmartTV, etc.

Standard file browser for Windows 8 (Explorer)
allows you to display thumbnails of RAW files of various formats

In other words, one of the important advantages of the JPEG format is its versatility. Having a digital photo in JPEG, you can be almost 100% sure that it will be able to be opened without problems regular means OS of various computers and mobile devices, publish on your personal page social network, print on a printer or in a mini-lab and perform many other actions.

The fact that the RAW format is much less common and universal compared to JPEG is a completely obvious fact, and there is no point in arguing with it. The problem of compatibility with various applications is further aggravated by the fact that there are currently many varieties of RAW files. In fact, each of the major photographic equipment manufacturers has proprietary formats for recording RAW images: CRW and CR2 for Canon, NEF for Nikon, SR2 and ARW for Sony, RAF for Fujifilm, etc. And the point here is not so much in the ambitions of large companies, but in purely technical differences regarding signal processing algorithms and the internal representation of image data in cameras of different series and manufacturers. In addition, as digital photographic technology improves, there is a need to modify existing RAW image recording formats, which further exacerbates the compatibility problem.

As a result, not a single universal RAW converter (or other application designed to work with files of this format) is capable of opening absolutely any RAW file. That is why cameras with the function of saving pictures as a RAW image usually come with special software for working with RAW files of the exact format used in this model. It could be like proprietary utilities(usually designed for processing RAW files recorded by cameras only from this manufacturer), as well as special versions of universal RAW converters, such as Adobe Photoshop Lightroom, SILKYPIX Developer Studio, etc.

An attempt to solve this problem undertaken globally by Adobe. In 2004, she introduced an open format for recording RAW images of digital photographs, which was called DNG (short for Digital Negative - literally “digital negative”). However, camera manufacturers took this initiative very coolly: leading market players still use their own RAW formats to this day. One of the rare exceptions is Leica, however, with all due respect to the history and philosophy of this, without exaggeration, legendary brand, it should be noted that the market share occupied by its products is currently extremely small and, as they say, does not make a difference.

Thus, solving the problem of compatibility of camera RAW files different manufacturers falls primarily on the shoulders of software developers. And in this case we are talking not only about companies that produce universal RAW converters. The number is gradually increasing graphic editors and programs for viewing digital images, which implement the ability to display and process RAW files (the ACDSee utility, popular in our country, is one example). In Windows 7 and 8, the standard file browser allows you to display thumbnails of RAW files of various formats. In general, every year the number of software products that support working with RAW files is increasing.

However, there is an extremely simple way to solve the “JPEG or RAW” dilemma once and for all. Most modern cameras that allow you to record pictures in RAW format have a mode for saving photos in both RAW and JPEG simultaneously. The latter is convenient for “household” purposes and for preview(as a kind of “control print”), and the RAW image is useful in case you need to correct technical errors made during the shooting process.

Of course, this approach has its drawbacks. One of them is the increase in the volume occupied by pictures (compared to recording only in RAW). However, since a JPEG file is much more compact than a RAW image, the reduction in the maximum number of frames that can fit on the media will be insignificant, and this can be sacrificed for the sake of the opportunities and convenience that open up.

The second drawback is the reduction in burst shooting speed. For most modern cameras, the maximum shooting frequency and burst length depend to a greater or lesser extent on the format in which the images are saved. Saving frames only in JPEG usually allows you to achieve higher speeds and save more images in one burst than when recording in RAW (and even more so in both formats at the same time). Thus, when choosing a burst mode, the photographer will have to decide what is more important at the moment: speed or post-processing capabilities.

Conclusion

Finally, let us briefly formulate the main thoughts presented in this article.

The fundamental advantage of a RAW image is that it stores all the information about the image recorded by the camera sensor at the time of shooting. When saving a frame in JPEG format, much of this information will be irretrievably lost. That is why, in the process of processing a RAW file, the photographer has much greater opportunities to correct both his own mistakes and errors made by the camera’s automation.

The function of saving RAW files is an undoubted advantage of a digital camera, since it allows the photographer to fully realize the potential capabilities of the camera, even if the settings were incorrectly set or an error was made when choosing exposure.

Although the RAW format allows you to save much more information about the image compared to JPEG, the ability to manipulate RAW images has its limitations due to the technical characteristics of the camera, in particular, the actual sensitivity range of the sensor elements, ADC bit depth, etc. Therefore, in cases where gross errors were made in choosing settings during shooting, even the presence of a RAW image of the frame does not guarantee a satisfactory result.

Working with RAW files is not as difficult as it might seem at first glance (especially to an inexperienced person). Frames taken without technical errors usually do not require additional processing and can be converted to JPEG (or other image file formats) in batch mode with default settings.

Along with significant disadvantages, the JPEG format also has an undeniable advantage: much better compatibility with software products, as well as with computer and household equipment. That is why the best option is to save each image both as a RAW image of the frame and in JPEG format (fortunately, most modern cameras provide this option). And if you are bothered by the reduction in the number of frames that fit on your existing memory card in this mode, buy another one. After all, the New Year is approaching, and everyone has the right to give themselves at least a small gift.