RAW images are similar to the latent images stored on an exposed film negative, except that they are visible and positive. Like film, they store a great deal more tonal information than will fit on either digital or print media. The image you see when you first open a RAW file does not reflect the actual content of the capture. It is necessary to process the image first in order to bring out the desired level of exposure, contrast and color saturation.
Camera RAW is a photographer’s tool, and a kind of blank slate. The photographer who develops his own film has complete control over the process, with the ability to adjust chemistry and times to suit the nature of the images captured on each roll or sheet of film. As such, the Camera RAW user has the ability to apply digital algorithms to process each image one at a time, or as a batch. However, once film is processed, its characteristics are locked in. In contrast, RAW images can be continually reprocessed as necessary for any media type that they are to be used with. It’s like the ability to return the negative to its latent state, and develop it all over again.
Camera Raw workflows are very accessible, but require a lot of work. For this reason, many cameras allow you to shoot both RAW images and JPEG or TIFF images simultaneously. In this way, only images which require further processing will need to be handled in RAW, and you will always have a target image that has been processed in-camera to refer to.
One of the more sophisticated applications designed specifically for use with only RAW images is Capture One. It’s function is centered more on exposure adjustment and batch processing than color.
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| Capture One Interface
The folder structure can be browsed in real time as in Adobe Bridge. The Adjustment parameters are fixed and reside in a pane to the left under six tabbed panels. Capture one has feature extensive control over batch processing, but has less control over color, being more exposure-centric.
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