8bit or 16bit in Camera Raw

When I open a Raw image from Adobe Bridge into Camera Raw, I see the Workflow options....that blue line of writing at bottom...now show 16bit where my previous raw images was 8bit. Should I change it in Workflow Options to 16bit ? I also understand that if I keep it in 16bit and open in Photoshop CS6 then I have to change it back to 8bit. What should the settings thus be in Camera Raw, 8 or 16bit? Thanx

I also understand that if I keep it in 16bit and open in Photoshop CS6 then I have to change it back to 8bit.
8bit is usually necessary just for the ultimate output.
I would recommend keeping the 16bit layered file and saving jpgs, pngs, whatever off of that.
Depending on your workflow and habits the advantage of working in 16bit my be negligible, but especially when extreme (combinations of) Adjustment( Layer)s are used 8bit images may develope problems like banding much more easily.

Similar Messages

Photoshop Opens 8bit TIFF files as Camera Raw

My normal workflow consists of opening RAW files in ACR, making adjustments, then moving on to Photoshop where I apply retouching and build clipping paths. I then save the file as an 8bit TIFF. I rarely reopen these 8bit TIFFs again, but when I did so recently what I encountered was not what I expected.
My Photoshop (CS6) is opening 8bit TIFF files as Camera Raw when selected by "right click" followed by "Open with Photoshop CS6". I remember being able to open 8bit TIFF files directly in Photoshop, but I think this change has occurred since installing CS6.
Again, files in question began as 16bit Raw files, but were worked on in Photoshop CS6 (retouching) and saved with clipping paths. This would reduce them to 8bit files. When placed in page layout, clipping paths work properly, confirming that paths are intact.
When I want to open the files again - say from Bridge or a Finder window - by the method "right click - Open with Photoshop CS6", the file is opened first in Camera Raw, and then in Photoshop, and the path(s) is missing.
I can open these TIFF files and access Paths but only if I locate and select the file from within Photoshop (File/ Open.../). The Open window gives "Format" as Camera Raw (which it isn't, having been saved as 8bit file). If I override format to "TIFF", the file opens with clipping path shown.
What might be going on here and how can I correct it?

DaleH wrote:
I set the preference to automatically open JPEGs and TIFFs with settings.
That's the reason for Adobe Camera Raw being automatically used to open TIFFs which were previously sent from ACR to Photoshop. The TIFFs have ACR settings because they originated as images generated from raw files by ACR. If you don't want ACR to be invoked when opening such files by a right-click then set the preference to "Disable TIFF support".
DaleH wrote:
I didn't manually set the bit depth.
When I saved the file with a clipping path it automatically dropped down to 8bit.
That's not happening here with CS6. 16 bits per channel are maintained when saving TIFF from Ps, regardless of there being a clipping path. Are you certain that the ACR workflow options definitely said 16-bit, as shown below, when ACR initially generated the images from raw and passed them to Ps?

Adobe Camera Raw: changing mode default from 8bit to 16bit

I'm using ACR 5.7 with Ps CS4 Mac. When I call up a DNG image, ACR always comes up in 8bit mode, and I have to manually change it to 16bit before converting. I used to have CS2 and ACR 3.x. It always came up in 16-bit. Whay can't ACR 5.7?

Not for nothing, but normally, the Camera Raw Worlflow Options should be sticky...meaning, whatever option you set should be picked up the next time you launch ACR. If this doesn't happen, it would be useful to know what OS you are working with (just Mac doesnt tell us much).
You need to help us help you resolve the issue...

Cs5 vs cs3 camera raw , with cs5 i can open @ 32bit ,cs3 @ 16bit

H
i did notice that in cs5 camera raw i can open the same raw file @ 32bit but in cs3 @16
i talking about the same image
is there something wrong in the cs3 installation ?
i did remember cs3 is able to open raw file (like 5d mark2) in 32bit
thanks

The first thing I would suggest is, in Photoshop, go to Help/About Plug-Ins and click on Camera Raw to verify what version is installed. There should only be one version listed, and listed only once. If there are more, then you need to get rid of the extras.
The DNG converter is a program that will create DNG (digital negative) copies of your raw images. It takes all of the raw image data and copies it to a new file format. The raw data is unmodified, and the DNG file is a standardized and open documented file format. But the DNG converter will not list the actual files. You choose the folder that contains your original raw images, and then the converter will put the copies wherever you choose to put them. But if your camera is supposed to be supported by the latest version of Camera Raw, I don't know if converting will solve the problem. It won't hurt anything; your raw files are still intact.
It would be helpful if you could describe your computer; operating system, how much RAM, a little information to allow the experts (of which I am NOT one) to help you isolate and solve this problem.

16 bit/14bit nefs opening in P/S from camera raw 5.2 as 8 bit images

I am downloading 16 bit nefs (D300) from card reader with cs4 bridge. In bridge I can check the meta data and see that they are 16bit but when I open in camera raw 5.2 then do the open file in photoshop form there they open as 8bit files instead of 16bit as I expected. I tryed the convert to dng on the import and get same 8bit results. I am using windows xp pro. Any ideas what I am doing wrong? I have slow dial up here so do not have my work photoshop computer hooked to net for help files from bridge and photoshop. Also have Shewes new real world camera raw and his deal with Martin Eweing preordered from amazon but don't know when they will come.

>I'm having trouble understanding the jargon though. Are you saying that the sensor data is read more slowly in 14-bit, which reduces the noise floor? and that is is only of any benefit when used at the lowest noise ISO (ie 200)?
Yeah that is basically the idea. A different read-out path or set of amplifiers is used or it is simply "read slower" which can, in principle, reduce noise. Not something that is inherent to 14 vs 12 bits but more to the way the data is read. If the noise stayed the same and it is in the lower 2 bits of the 12 bits converter, there is no point as the only thing you're doing is more precisely imaging the noise. If however, the noise goes down a little going to the 14-bit readout method, you might get better signal to noise ratios and hence more shadow detail. This is all theory, and if you actually do the test with your camera, you'll see there is no difference in real world photos. The shadows would need to be really deep to see any of this. Basically you need to be boosting exposure by 3 or 4 stops AND applying shadow fill near 100. Not a realistic situation. To see it, you indeed need to be at a situation where the noise floor is significantly low, which means low ISOs on most cameras. At high ISO, there could be a difference because of differences in amplifiers, etc, but in practice that is not the case either on this camera. Other sources of noise drown it out completely.
>Is there no other benefit to post-processing? I'm not clear where the extra 2 bits go; is it increased resolution over the same dynamic range, or is the dynamic range extended? Is this not also a factor in choosing 14 over 12?
There could be some benefit if the noise characteristics were significantly different. Lower noise means higher dynamic range and therefore better capability to extract detail from shadow areas. However, from my testing, in practice this does not happen on the D300. Other cameras might well show higher dynamic range and better detail in shadows at 14 bits. You can see some of this by looking at the dynamic Range charts on DxOmark.com where sensors of different cameras are tested. You need to be significantly above 11 to 12 EV for 14 bit capture to make a difference.
>Sorry if this is a bit off-topic, but you have to grab experts when you find some
The easiest thing is to test it. In realistic scenarios, I just cannot see any difference. If you contrive a completely weird case, such as underexposing an entire image by 8 stops, or pushing up shadows by as many stops, you can get into the range where it might make a difference. Those are just not real situations though.

Can only open some JPEG files in Camera Raw through Bridge CS3

I'm running Bridge CS3 version 2.0.0.975. I always edit my JPEG files through Camera Raw in Bridge CS3. I only have to Right-Click on the file and select "Open in Camera Raw...". However, I've come into a situation where some jpg files will not open this way; the option is not even there.
I have made sure to tick the box in preferences under Behavior "Double-Click Edits Camera Raw Settings in Bridge", and also tick the box under Thumbnails -> Performance and File Handling "Prefer Adobe Camera Raw for JPEG and TIFF Files.
These files were originally 16bit Grayscale TIFF files, but I changed them to RGB 8bit JPEG files.
Also, I know the program works because I navigate to an older photo I worked which is a JPEG and the "Open in Camera Raw..." option is there when I Right-Click, but then I navigate back to the image I want to edit, and the option is not there.
Here are links to my screenshots of what I'm talking about. Both images in the last two screenshots are JPEG:
General Prefs - http://img535.imageshack.us/i/prefgeneral.png/
Thumbnail Prefs - http://img716.imageshack.us/i/prefthumbnails.png/
Camera Raw Option - http://img847.imageshack.us/i/option.png/
Camera Raw No Option - http://img852.imageshack.us/i/nooption.png/

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MapsCollector wrote:
When I open Photoshop CS3, then go File -> Open As and change the Format Type to "Camera Raw", the JPEG files vanish and I can only see the TIF files. When I open them, it doesn't open in Camera Raw, but rather opens like a normal file would.
That's a fundamental problem right there, and a clue in all this. You should be able to see JPEGs in the Open As Camera Raw dialog.
What happens if you type in the name?
I'm almost convinced you have a file named .jpg but with a different image format inside. Can you put one of these files online for others to try to open?
-Noel

Camera Raw 5.6 in CS 4

When I import an image into camera raw can I change the bit depth and/or the resolution without degrading the image? I know if I click on the information along the bottom of the raw screen a dialogue box will come up giving me these options but I was wondering if this will interfere with the quality of my images.

Mary Ellen Foster wrote:
Because of what xbytor2 said:
"My Nikon Coolpix S550 creates 8bit jpegs. I convert those to DNGs first and do what processing I can there. When I'm finished, I export them to 16bit ProPhoto PSD files and then do any additional processing and printing there. The 8->16 bit conversion makes it possible for better edits ACR and PS. Banding in skies, for instance, is greatly reduced because there is more room for smoother gradients."
I find what you said makes more sense. I mean, if you pump up 8 bit files by converting them to 16 bit files, wouldn't that just add non existing data?
Mary Ellen
There is no contradiction whatsoever.
In message number 1, I wrote:
Tai Lao wrote:
A 16-bit image will always give you more latitude to process it than an 8-bit one, and a larger color space like ProPhoto RGB will give you more latitude with the colors than a narrow one like sRGB.
That is exactly what xbytor 2 writes.
When you change the bit depth from 8-bit to 16-bit you are not inventing data, you're expanding the space around your data. That way you can add more colors, as when you increase saturation or paint on your image, and there's more breathing room for gradients and such.
That is very different from what I wrote in message number 3:
Tai Lao wrote:
Mary Ellen Foster wrote:
Some of my images come into ACR with a resolution of 240 ppi.
That is irrelevant. You can change that in Photoshop without altering any of the pixels by keeping the "Resample" box in Image Size UNchecked.
Now, if you resample, whether up or down, then you will be altering the pixels, inventing non-existent pixels when you upsample and discarding image information pixels when you downsample. This is regardless of whether you resample in ACR or in Photoshop.
To keep the best image quality, no resampling should be done. In ACR, this is achieved by using the one pixel dimension setting that DOES NOT have either a plus or a minus sign in ACR Output Options.
Wo Tai Lao Le
我太老了

Use Camera RAW with Sony Nex-3

Hey Guys!
I want to get out more details from my photos.
Im using Adobe Photoshop CS5
Sony NEX-3 Compact Camera (listed in the camera raw compatibility list)
First i changed the cameras picture format from jpg to RAW & made some photos.
At home i tried to open the files with Camera Raw. Doesnt work. The sony camera saved the pictures as an ARW File.
So i downloaded Adobe DNG Converter. I converted the ARW into a RAW file and opened it with camera raw.
So far so good! I opended the RAW picture with Photoshop. Just for testing with 8 & also 16 bit. Does my camera support 16bit?
I compared the RAW File with the new created jpg.
Normaly the quality of the raw file should be much better than the compressed jpg i think.
I took a look at some other jpg pictures (i shot them in JPG Mode) & compared them with the RAW Images (RAW Mode).
I saw absolutely no difference between RAW & JPG.
I also tried a exact tonal value correction at both images.
Same with other picture corrections. Details, Noise, Sharpness.... same.
With the Sony NEX-3 there also was a RAW Program included which opens the ARW Files.
I cant see some differences between RAW & jpg here too.
What I am doing wrong?
I have to say that i am an camera raw beginner. I tried this for the first time. I thought this would be easier!
At the screenshot below you see a JPG picture on the left & a 16bit DNG on the right.
I found no differences!
I would be very happy about your help and some good advices.
Best regards Andi

Andi265 wrote:
Basicly i understand how RAW works. But im still wondering why i cant see just only a very little difference to my jpg Images.
The image of the Mountain Railway Station i postet has a lot of dark shadow areas & details.
I´m also wondering why these chromatic aberrations are shown in the RAW file? I thought its only in the jpg images because of the compression.
Your raw file may be 12 or 14 bit, and have no output colour space - it is only limited by its physical characteristics and analogue-to-digital converters. You should set Camera Raw for the biggest workspace necessary, which in my case is 16 bit AdobeRGB. Others work in ProPhotoRGB—it's a personal choice. This has the effect of constraining the raw data, and you will learn to use the sliders to work within those constraints.
Using normal processing settings there will only be subtle differences between the conversion preview and the camera JPEG. The tonal response will be slightly different, seeming slightly lighter or darker, and the colours' hue/saturation will be slightly different too. Also, depending on the camera, automatic distortion/vignette/aberration correction will be missing. This is all to be expected, and your expectations have been misplaced.
However, this is only a starting point. Whilst JPEG shooters can go on to process their images, the resulting quality will be inferior; JPEG is a finished image format. Raw shooters have much more to play with, and can manipulate the conversion's parameters to boost shadows, recover highlights, adjust mean exposure, increase/reduce/localise sharpening and noise control, apply processing gradients and masks, apply local contrast and selective saturation boosts, and correct your camera's colour response, as well as apply lens defect corrections—all before the conversion to JPEG.
So, you won't start to see the difference until you start to push these adjustments. You have been given a second (and a third and a fourth...) chance to create your JPEG using your own set of picture parameters, and the ability to change these parameters for each photo after taking the photo.
In your photo above, you can bring out detail in the shadows by boosting Fill and Blacks. As you shot in Raw, you will have a good amount of tonal resolution recorded in the shadows (assuming you didn't underexpose in the first place), which would be absent from a JPEG. You also have the ability to change the sharpening to suit the image, and even apply local sharpening where it's needed most (and less where it's not needed).
You also have the ability to modify Camera Raw's default settings how you like it. You can enable automatic lens defect corrections (like chromatic aberration—make sure you're on ACR 6.7). You can change the default camera profile (which dictates how tone, hue and saturation is translated) to a preset, or make your own using a calibrator. Do this and your starting point will be how you want it, not how Sony wants it.
I could go on, but I think you have probably heard much of this before. The main point I'm making is that you shouldn't expect to see a big difference straight away, but the possibilities you have created are much greater.
Message was edited by: Yammer P

Adobe Camera Raw changes not reflecting in Premiere Pro

I was super excited to try out the new CNDG support in Premiere Pro CC 2014, but I have to be honest - I am a bit disappointed...
I am using 16bit Cinema DNG files and the source settings sliders really aren't doing it for me (notice the pink highlights)
That's alright though, I would much rather use Adobe Camera Raw!
Right click > Edit Original
There we go, that looks nice - no pink highlights, nicely recovered details in the shadows and highlights.
PERFECT, click DONE!
Nothing...For whatever reason, changes are not reflecting.
Adobe - please allow us to use Adobe Camera Raw, there are so many folks out there that want to incorporate it into their workflow. I have tried SpeedGrade and various other color correcting tools and I have found Adobe Camera Raw to work the best IMHO
Thank you for your time.
-Loyal Paying Customer

Hi Ekombokom,
ekombokom wrote:
Hello! I too am having this same problem. I used Camera Raw (both in Bridge and Photoshop to make sure) to adjust and correct the Cinema DNG files I shot with my BMPCC; however, the video sequence in Premiere does not reflect any of the changes made. Why would Adobe not support Camera Raw settings in Premiere?
Sorry, but Premiere Pro does not have a camera raw importer. You adjust the settings in the Source Settings dialog box instead (for RED, ARRI Raw, BMCC and BM Pocket Camera DNG files). You do have access to some controls for these formats, but in some cases, Camera Raw has more controls.
ekombokom wrote:
Camera Raw is an amazing tool for refining an image and gives me the best results compared to SG and Davinci. I was so excited to be able to use it once Premiere supported CinemaDNGs but now I'm confused as to why it's not supported.
Cinema DNG from the Blackmagic Cameras are supported, you just adjust settings in Source Settings, as I mentioned. Have you tried that? The reasoning behind this is that Cinema DNG video coming from camera raw is too difficult to playback and edit with.
That said, some users bring Cinema DNG footage to After Effects, adjust the video there, then render out files that are suitable to edit with.
ekombokom wrote:
I thought the point of using Adobe was that all their products worked together seamlessly? I really hope they fix this.
You can always make a request here: http://adobe.ly/feature_request, however, I don't see a camera raw importer going into Premiere Pro any time soon (if ever) because of the reasons I previously mentioned (editing with camera raw would be too cumbersome). I think the more realistic feature request would be to add more controls in Source Settings.
Thanks,
Kevin

Duller colors from Camera Raw to Photoshop: why?

Hello!
I'm opening my Canon 70D RAW files with Camera Raw 8.4.1. After this step, I open the corrected file in Photoshop CC. At this point colors have changed, everything is duller and less contrasted.
See image.
Camera Raw color management: Adobe RGB, 16Bit.
Photoshop color management: RGB: Adobe RGB (prepress Europe 3)
Also, no color proofing is active.
How can I correct this issue?

This is a problem with your display profile. The conversion from source profile to display profile is not the same in these two cases, so a bad display profile can show up this way.
ACR converts from its internal working space, linear ProPhoto. Adobe RGB is just the export color space here, so irrelevant. Photoshop OTOH converts from Adobe RGB.
Recalibrate, and examine your calibrator's settings. V4 profiles and LUT-based profiles have caused problems for some, so try v2 and matrix-based if you have these options. You can also test by substituting a known good profile, which would be sRGB for a standard display, or Adobe RGB for a wide gamut one.

Adobe Camera Raw to Photoshop Workflow

Hi
Can someone please tell me those edits which should/Must be done in Adobe Camera raw on a Raw image prior to importing and editing with Photoshop.
I believe its the following.
-White Balance
-Crop
-Exposure to recover blown highlights
-Tone adjustments to contrast and Brightness
-Lens Chromatic and vignetting
-Renaming and 16bit exporting
Every thing else can be carried out ion the Tif in PS
Thanks
Carlo

Most Camera Raw-oriented people say do as much as possible in the plug-in, but I tend to think that Photoshop (the main app) isn't all washed up just yet.
I do pretty much what you listed, myself.
When CS5 was first released with Camera Raw and the new 2010 process, I did quite a bit of experimentation to find out just what seemed to give the best results with regard to delivering the best detail in my images. It turns out doing upsampling in Camera Raw to the highest or next to highest pixel count gives slightly better, more natural looking detail IMO. Of course you need a good computer to handle the extra image size.
Converting to 16 bits/channel seems prudent.
Also note that if you convert to anything other than the ProPhoto RGB color space you chance getting channel clipping, where values for one of the color channels come up solid black, even though the camera may have measured above-0 luminance in those parts of the image.
-Noel

Camera RAW: NEF - JPG color dessaster

Hallo...
I use PS CS4 on my Mac. Normally I use Camera RAW to convert my D90 NEF-files to JPG-files without using Photoshop.
In Camera RAW look all colors great. When I convert the 12Bit-Raw-files to 8Bit-JPG's all colors look sad and gray.
Where is my mistake??
In the export-dialog it's not important if i set 16-bit export or 8-bit export - the colors look like crap!
The only workarround i found is to rise the saturation and dynamic for 15-25 points. Is there no better way?

If you are saving to JPG directly out of Camera RAW and not enhancing further in Photoshop then you should probably save as sRGB, especially if you are putting the JPGs out for people to see on the internet.
What could be happening is that you’re saving as ProPhotoRGB or AdobeRGB but the viewer you’re using to verify the colors is not doing color-management properly so it is interpreting the colors as if the JPG was sRGB even though it’s not.
If you are going to be editing in Photoshop then keep the colorspace in ACR as 16-bit ProPhotoRGB and do the conversion to 8-bits and sRGB in PS just before saving as JPG.

Camera raw issues - RAM problem?

Hi
Im using Photoshop 6 with when using ACR i find that the ability too zoom in and out in camera raw disappears if i apply any noise reduction (ie: luminance amount above 0). When this happens i also get "stuttering" when moving the image around in the window, with the bottom or top section of the image remainingand being replicated above or below while the middle of the moves.
Often i process a RAw image and it opens as a TIFF in photoshop and all seems fine, then if go back to ACR and try and process another RAW i find that the ACR page opens minus the image. In other words the ACR page is visible but the window where the image should be shows PS underneath. The only way to clear this is to close PS and reopen the program and the RAW file. I often get an error message when i try converting a RAW file to a developed tiff that says "not enough RAM".
My PC has 4GB of RAM and in the photoshop preferences (performance) the "ideal range" on my PC is around 900 - 1150MB. Is my PC too dated to run PS & ACR and do you think the issues ive explained are all to do with the limited RAM?
Mark

I am seeing this problem too. I have a similar specd PC to mjones1978 above : core i7 860, ATI Radeon HD4350, 32bit win 7 pro, 4GB RAM (2.96GB usable). I am opening RAW files from Mini Bridge to Camera Raw and I can get 2 sequential images loaded processed and then imported to PS6 as 16 bit saved and closed with no problem. I come to the 3rd RAW file, and as soon as it opens in Camera Raw, there is no working preview. When this happens, even if I just hit 'Open' to open it in PS6, it wont open. I can change the sliders in Camera Raw or clsoe file but nothing else.
The only way I can get around this is to completely close PS6/CR/BR down and re-open again.
I suspect that it may be something to do with memory and I have done a system monitor to see what's going on -
Available
RAM
Memory
1.8GB     - I have a few programes open before PS6
1.65GB   - PS+mini BR open
1.28GB   - PS+MBr+CR open
1.07GB   - PS+MBr+16BIT image file open in PS
1.07GB   - 16 BIT image file closed but PS and MB open
0.74GB   - PS+MBr+CR file open
0.98GB   - File Closed
0.77GB   - PS+MBr+CR file open { CR preview disappears and file is not openable in PS from CR)
Now it would appear that PS6 is hanging onto 1.65GB-0.98GB = 0.67GB of RAM memory that it never coughs up again. which on a 4GB 32 bit system is a sizable chunk.
I have tried playing around with giving PS6 more memory in preferences, purging PS6 cache (there is never anything highlighted to purge other than video cache after a file is closed), and also tried giving CR 10GB of cache disk space.
None of these options work.
For now it just leaves me closing PS6 all the time and then reopening every 2 images which is a bit frustrating.
This happens more suddenly with big (42MB) RAW files, but smaller ones (20MB) create the same problem too, but I maybe get a few more files processed before it does..
Very frustrating. I don't think PS6+CR is optimised for 32 bit windows system, but I don't see why it wont work given I still see 0.74GB of free RAM at the very least. Maybe its Camera Raw that has the issue rather than PS6?

Save jpg in Camera Raw

I have previosly worked with Camera raw from CS4. Here i saved my NEF files in jpg directly from Camera raw.
Now im trying the Elements 8 but from Camera Raw i can only save in dng. (Im using 8bit).
What am im doing wrong?

hmm, that is very sad news......properly means that i done with adobe and photoediting.
But thanks for the quick reply.

Adobe Bridge in Photoshop - How to install Bridge and camera raw? And what is it all about?

Hi everyone! I am actually in love with this adobe photoshop. I used PSCS2 before, but later on upgraded to CS4. But I feel tired in upgrading to CS5.
One time, I found a tutorial in youtube about camera raw, and would really want to use it. But I was wondering how to install the camera raw. I believe camera raw is a plugin? so I downloaded the plugin here, installed it in my PS. I downloaded a file Camera Raw.8bi and paste it on my C drive - C:\Program Files\Adobe\Photoshop CS4\Plug-ins\File Formats.
I now am very confused, how will I open it? I do not have adobe bridge! After I installed the camera raw, I opened my PS. I clicked the file>then browse in bridge. I had an error, it's "error 2 photoshop11 undefined". Which is what I thought, I might have done something wrong with installing it.
My question is, do you still need adobe bridge installed in order to use camera raw?
If yes, how does it work? How am I suppose to open camera raw?
If no, how am I going to open camera raw without bridge?
And also, where will I download adobe bridge? I cannot find one here for CS4, only adobe bridge for CS5. I am wondering, is it okay to install adobe bridge CS5 and use it with my PS CS4?
I badly need help!

WebDAV (Web-based Distributed Authoring and Versioning) is a set of extensions to HTTP/1.1.
The main difference from FTP as far as I can see is that it allows you to edit documents on a remote web server.
WebDAV was used by the Apple server - MobileMe but is not generally supported by hosting services.
Using WebDAV you can mount a directory locally. This was how iDisk worked on your Mac and you could drag files onto it to upload them to the remote directory.
With WebDAV, a number of users can share a directory which is why its used in local networks but presents security problems when using a remote server.
If you are into file sharing rather than publishing, Dropbox or its new rival SugarSync are more appropriate.

8bit or 16bit in Camera Raw

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