Comparing RAW vs. jpg in Aperture When Shooting RAW + jpg

I just started shooting RAW + jpg with a brand new camera. I imported these photos into Aperture. The photos all have jpg as the master with the associated Badge indicating there is also a RAW version. Changing each Badge, I can toggle between the jpg and the RAW versions.
However, I would like to compare both versions (side by side). If I don’t like the jpeg version, I’ll post process using the RAW version. How can I do this in Aperture? Ideally, I would like to have these respective RAW and jpg versions of each photo in a single Stack to facilitate comparison.

Sven Erik wrote:
Excellent! However, do you know I can create separate masters after I've already imported?
You can do this either one at a time or in multiple selection:
1 - Select image(s) you want to see both JPEG and RAW masters for (let's say you have the JPEG set as master by default).
2 - Photos menu > Set RAW as Master (this switches JPEG master to RAW master)
3 - With image(s) still selected: 'Photos menu > New version from master'
4 - You now have two RAW versions of each image (the original master version and a new version)
5 - Select all original versions and then: 'Photos menu > Set JPEG as Master'
6 - You should now have a JPEG master and a RAW version of each image (the same as having a JPEG and RAW master side by side). The only difference is that the RAW will have '-version #' after the image name.
7 - You can run a batch change via 'Metadata menu > Batch change...' and use the Version Name Format drop-down / Edit function to change the name on the new masters (I sometimes use the 'Master File Name' and remove all other items from the format field, which leaves the same master name and the file extension).
I use the 'Both (JPEG as Master)' in Tony's screenshot and then just create a RAW version if the JPEG does not meet my needs for some reason.

Similar Messages

Aperture and shooting Raw+Jpeg

In camera Jpeg processing becomes better and better with each generation of cameras. One example is the dynamic range optimizer in my Sony A700. You often have a hard time to get similar results from the Raw. So for quite a lot of shots - especially the not so important ones - using just the Jpegs is a real time saver. Still it is good to have the Raw handy in case the camera processing went in the wrong direction, which still happens occasionally. With 8 or 16 GB cards it is not an issue meanwhile to shoot Raw+Jpeg. Unfortunately IMO there is no smooth Raw+Jpeg workflow within Aperture. Especially it is almost impossible to delete the Raw without loosing the Jpeg and vice versa in a managed library (see thread mentioned below).
Thus I just posted this to www.apple.com/feedback. If you think this is an important issue, that should be added in a future version of Aperture, you might sent your feedback as well:
It is nice, that Aperture already imports both pictures, if you shoot in Raw+Jpeg mode. But the further workflow of dealing with the Raw+Jpeg combo is not optimal:
The main reason to shoot Raw + Jpeg is, to save time in using the ready processed Jpegs for the less important shots or the ones, where the in-camera processing left not much to improve, but still having the safety-net of the Raw for a more advanced development, in case the picture asks for it.
So instead of showing the Raws and hiding the Jpegs by default it should be vice versa. If there is a Jpeg accompanying the Raw, the Jpeg should be displayed and the Raw should be hidden. At least you should be able to set in the preferences, whether you prefer to see the Raw or the Jpeg. If you realize while rating the picture or doing adjustments, that the Jpeg doesn't fit the bill, you should be able to give precedence to the Raw, aka showing the Raw and hiding the Jpeg.
After having finished the work, you should be able to either delete or archive the not used version (either Raw or Jpeg), without loosing any metadata or adjustments already applied to the other version.
Currently it is an extremely complex task, to get rid of the unused version. Workarounds are suggested in this thread: http://www.oreillynet.com/digitalmedia/blog/2007/09/gettingrid_of_unwanted_manage1.html
Peter

SierraDragon wrote:
I am unfamiliar with Sony DSLRs and do not know what might make a Sony JPEG visually equal to a Sony RAW image file.
What I refer to is the dynamic range optimizer, which is based on Apical’s IRIDIX image processing engine. I think it is used in recent Nikons as well, but as I have only a Sony DSLR I mentioned this.
Basically it is a kind of highlights and shadows adjustment, but it works very well and in many cases you have a hard time to generate similar good results with your RAW processor (aka. Aperture).
However, JPEG is still a lossy image format that IMO should only be used for low end usages. RAW converted by the camera vendor's software to non-lossy formats like TIFF should generally be quite superior to JPEG.
Of cause the RAW holds more information and carefully processed often leads to better results than the in-camera JPEGs. But not every picture will be printed in poster size. And although JPEG is a lossy format, with a low compression setting the artifacts are almost undetectable at least with my DSLR.
Shooting in RAW+Jpeg mode can be a real timesaver. You look at the Jpegs firsthand, rate them, make small adjustments, if neccessary. For the majority of the pictures you can use these Jpegs even for slideshows and prints. If you step over a picture, where the in-camera processing went wrong, like oversharpened, oversaturated picture with wrong WB etc., you can easily resort to the accompanying RAW and process it to your heart's content. The only drawback with this workflow is the increased temporary storage capacitiy you need. But with today's low memory card prices, the benefits outweigh the cost by far IMHO.
That said, the reason for my post was not to discuss the benefits of a RAW+Jpeg workflow, but Aperture's issues in dealing with it.
Peter

Panasonic Lumix LX3, shooting RAW with Film Modes

I've been shooting RAW+JPEG and testing Film Modes (for example B&W) and noticed that RAW images will import "tabula rasa" without any of the Film Mode settings applied. JPEGs are naturally as supposed.
I'm wondering if this is how it's supposed to work, as the RAW's first show a thumbail with Film Mode's settings, for example b&w first shows as b&w, but eventually Aperture processes a new thumbnail with standard raw settings. (I don't have previews on).
I know raw is raw and you can't shoot it b&w, but I can't help thinking if there are some in-camera RAW settings that Aperture just doesn't know how to read and pre-apply when it's imported.
The in-camera b&w settings would be nice starting point for further raw-editing in Aperture, but now one has to start from scratch.
Anyone know if this is how it works, maybe with other cameras too?

That's propably it. Only, I've read some reviews of LX3 that claim you can also shoot Film Modes in RAW. For example Mark Goldstein at photographyblog.com says:
"This [=film mode] applies to both JPEG and RAW files, so you can effectively shoot a black and white RAW file, for example, out of the camera if you wish (although I'm not sure why you'd want to...). "
This makes no sense to me as I believe you can only get one kind of RAW from a sensor, but it makes me wonder if there still should be a way to have some kind of B&W RAW straight from the camera and Aperture just doesn't know how to interpret it.
I also agree with Goldstein that I wouldn't want it to shoot b&w destructively, but rather as a non-destructive "layer".
Also the LX3 manual doesn't say a word that you couldn't use Film Modes when shooting RAW, and it's quite good at telling what is not applicable for certain modes.

Should I shoot RAW or JPG and what ratio should I pick when shooting stills?

I want to take artistic pictures. Does that mean I should shoot RAW and then deal with the settings in Photoshop? I realize I can't for the corporate photo contest because I am not allowed to Photoshop anything for the contest. And pictures at a party that I intend to share or immediately upload, I understand why I would not shoot RAW.
Are there other reasons not to do so?
Many of you know me. I have been shooting video for a while and I am just now starting to shoot stills. These are tough questions for me.
I always assumed I would shoot stills using the maximum frame size possible. However, I have other choices.
When the aspect ratio setting is [4:3]
4608x3456 pixels, 3264x2448 pixels, 2336x1752 pixels
When the aspect ratio setting is [3:2]
4608x3072 pixels, 3264x2176 pixels, 2336x1560 pixels
When the aspect ratio setting is [16:9]
4608x2592 pixels, 3264x1840 pixels, 1920x1080 pixels
When the aspect ratio setting is [1:1 ]
3456x3456 pixels, 2448x2448 pixels, 1744x1744 pixels
Now, to be honest, I can't think of a reason to shoot stills at any size other than the 4:3 based 4608x3456 except to save room on the memory card. But I figured I should probably ask just in case I am missing something. Storage is not an issue as far as I can tell at this time. I bought two 64GB cards and I will be able to use part of my 16GB Smartphone memory card for additional storage should the need arise. Most likely I will have plenty of room until I can copy over to my laptop and then on to an external drive.
For reference: http://www.herviewphotography.com/2012/06/18/raw-vs-jpg-file-formats.html

Steven,
You are correct, that you should not shoot the Holiday Party pics in RAW, as they will only be used to blackmail your boss, and co-workers, so JPEG would be adequate for that (unless you really need to do Photoshop work, to make the images more "compromising... ").
Now, shooting in Camera RAW has several advantages, and really only two disadvantages, that I can think of.
Camera RAW captures everything that the sensor can, but it is in unprocessed form (one of the disadvantages), and then Photoshop with the ACR (Adobe Camera RAW) can "process" your images. I do this, when I have real use for the Images. I have developed a Preset for my Nikon Camera RAW, for each camera, so it's fairly easy to batch process. I always Save_As PSD, since I will very likely do additional work (not useful for the company competition, but CAN be useful for those black-mail pictures, if you have much "work" to do).
I Save my NEF's (Nikon Camera RAW) Images, and then, in a separate folder, my processed PSD's. Those are sort of like duplicate transparencies, but with slightly different data in each. From the first, the NEF's, I could always run them through ACR again, should something happen to my PSD's. The reverse is not true, but at least I would have my PSD's.
For use in Video, I will almost always Open my PSD's, and Scale them, plus possibly do other Image-editing, per my needs. As I shoot at max. resolution (~ 4000 x 3000), I will be Scaling, and then likely Cropping (as most Projects now, are 16:9). If you do any 4:3 Projects, then you are already there, save for the Square Pixel vs Rectangular Pixel issue, but if you Scale the 4:3 material to 640 x 480 Square, it should look just fine in a 4:3 PAR=0.9 Project's Frame.
In camera, I always try to mentally compose the Images into 16:9 horizontal, if I see the potential for Video use. It's like keeping 11 x 17 in the back of my mind, when shooting for potential double-truck magazine use. [Back in film days, I made several Nikon screens, to fit various common uses.]
Though PrPro CS 6 (as of CS 5), with full CUDA/MPE support, can do a great job of Scaling, I still use my PS Actions to batch process entire folders, and usually on Bicubic Sharper, though for some subjects, I choose Bicubic Smoother. This means that I am not "pushing around" a bunch of unused pixels. I Crop each Image, and then Scale it, with the Action, to match the Frame Size of the Project.
Now, back to RAW. That allows you the full capture from the sensor, so you have everything to work with. I shoot in 16-bit, for as much data, as I can get. One step in the process, but usually well after the ARC processing, and Saving_As PSD, will be the conversion to 8-bit Mode, but only after ALL of my processing, as PrPro cannot use 16-bit Bit-Depth, for Video.
For just general shooting (usually "happy-snaps"), with no inteneded high-rez printing, or Video use, I will shoot JPEG, at the highest quality setting (lowest compression), and be done with it.
One disatvantage of Camera RAW is the write time to the card, but with newer cameras, and faster cards, that is less of a problem, than it once was. Still, even high-rez JPEG's, though they do require in-camera processing to JPEG, will allow one to shoot more quickly. [That can be very important with those Holiday Party pics, as who knows what will happen in the next nanosecond?]
To me, Camera RAW is sort of like standing in front of a photograph, with my entire set of cameras. I ask, "Is this really a great shot?" If so, out comes the 4 x 5. If the answer is "maybe," then I grab a Hassleblad. If the answer is "no, but it IS interesting," then the 35mm is my choice. Sort of the same thing, but instead of cameras, it's RAW vs High-rez JPEG.
Just some thoughts.
Hunt
[Edit] PS - what the linked article said.

RAW plus JPG in Aperture Question

I am new to using RAW and have been reading and experimenting to understand. I have a couple of questions that would help me along.
First, what I think I understand so you can tell me if I am wrong: When I import RAW images from my Nikon D40 to Aperture and the Nikon software, the colors on some of them look significantly different, even shooting without in-camera adjustments. I assume this is just, different converters, different results. When I apply in-camera adjustments (such as increased saturation), the effects show up in Capture NX, but not in Aperture. I understand this is because Aperture is reading the RAW information without the adjustment information, while the Nikon software applies the adjustment information. Finally, I could shoot without in-camera adjustments and then apply them in Capture NX and get pretty much the same result.
All right so far I hope. Please tell me if not.
My questions:
1 - is exposure compensation a camera adjustment that is built into the RAW data, so that it will affect every RAW converter, or is it a post-RAW adjustment that is ignored by Aperture.
2 - When I shoot RAW+jpg, I see two images (the RAW and the JPG) in the Nikon transfer software and in iPhoto, but only one image to import in Aperture. On import, Aperture is telling me that it has the RAW file. What happened to the jpg? Does it use it as the preview or does it ignore it?
3 - If you tell me that Aperture is using the jpg as the preview, does that mean that it might look different from the RAW file, since the jpg was generated with the camera's RAW converter?
Thanks. I know this is a lot to read, but I spent a fair amount of time experimenting and reading and still have these questions.
-Tom

Is there a way to just look at the master jpg without creating a new version from it?
It may sound silly but creating a new version from the jpeg and then undoing this is one of the better solutions (once you have created that version, you cannot get rid of it without either deleting the underlying jpeg master or using the undo functionality).
The other solution is you use the Quick Preview mode. If you don't have previews generated by Aperture (or if you delete them for the project in between), Quick Preview will show a smaller jpeg (~ 1MP) that is embedded in every raw file. This big thumbnail, created by the camera, will have the same rendering as the full-size jpegs produced by the camera (but might have a different compression setting).

Tethered shooting and jpg+raw pairs

Hello,
Is there a way when you are shooting in tethered mode that Aperture recognizes pairs of Jpg and Raw coming in from the camera?
I tried different configurations in the tether settings dialog box and it doesn't seem to work.
Many thx for your input.
Eugene
<Edited By Host>

Oh you are getting both images in but you want them to be paired. Ah I misunderstood your original post. I thought you weren't getting one or the other into Aperture.
OK so no, this is how tether works. You can call it a flaw I guess but when I am shooting tethered I want to see the image I just shot. If one or the other were hidden it would defeat the purpose of tethered for me.
You can use Aperture->Provide Aperture Feedback to suggest to Apple that they change the behavior.
regaards

I wonder how pro photographers use aperture?I shoot raw and my harddrive is alreay full.I'm not able to import new pictures.Is it ok if i create a vault and delete all my projects in the HD.Can I use an external HD use aperture through the vault??

I wonder how pro photographers use aperture?I shoot raw and my harddrive is alreay full.I'm not able to import new pictures. I don't know what to do. I created a vault. My plan was to create a vault(put all my master files into an external harddrive) and then delete all my projects in my mac pro's harddrive. Is it the correct way to do it ? What should I do if I have thousands of raw files ? How should my workflow be? Can I use an external HD and use aperture through the vault,without keeping the master files on my computer's hard drive?? Or should I shoot raw+jpeg and store raw files in an external backup harddrive and import only jpegs into my aperture library?

There's a bit to learn. It will slowly make sense.
Aperture is an empty field. You're given a tractor and a whole bunch of attachments. What you grow, how, and where, is entirely up to you.
Vaults are for back-up and only for back-up. They have nothing to do with storing your working files.
When your Library outgrows your system drive (and for good performance, you should leave c. 20% of every drive empty), it's time to convert some of your image's Masters from Managed to Referenced. ("Managed" and "Referenced" refer to Masters, not to Libraries.)
There are hundreds of posts in the forum, and several pages in the User Manual on using Masters.
Many people run Aperture with the Library on their system disk, and most (or all) of their images' Masters on external FW drives. This is a good set-up. Note that you will likely have to take steps to back-up the data on your external drives.
If you do the above, there should be no reason to delete any Projects.
The choice of RAW or RAW+JPEG or JPEG depends on the kind of work you are doing. I capture RAW only -- but I don't do any commercial shoots. Pros on deadlines report that the RAW+JPEG works well for them. Capture JPEG if it saves you time. IMHO, there is not a good reason to shoot JPEG to save space (space is cheap; time expensive).
Short-term solution: buy and use a FW800 external 1 TB drive, formatted "Mac OS Extended (Journaled)", and using Aperture relocate the Masters of all images older than 30 days to that drive. (Be sure to change your back-up strategy to include this new drive; you may need a second new drive.)
This general post of mine might help you understand more about Aperture.

I am having issues when I shoot raw + jpeg. Raw files seem corrupt!!

I am having issues when I shoot raw + jpeg. It seems the raw files get corrupted. I have shot raw without an issue. It is only when I shoot raw + jpeg. The raw files will not show in Photoshop elements. I installed the Canon software and was able to see all the raw files; however, I noticed that when I tried to view some full screen they would not show. I also noticed that these raw files look block-ish. They appear more digital looking. Is there a specail card needed to shoot raw + jpeg? I formatted the ones that I have prior to using them.
Solved!
Go to Solution.

While it could certainly be a card-reader problem, data corruption of any kind can be any of the following:
1) the card
2) the cable (if used)
3) the card reader (if used)
4) the computer RAM,
5) thecomputer hard drive (or SSD)
A failure of any one of the above will result in corrupted images when viewed. Since it seems to be RAW file related, as they are signifantly larger than JPGs, it's likely anything but the card reader or cable.
The only way to 'beat it' is eliminate each of the possibilities, starting with the easiest/cheapest fix.
1) Use the cable. If that solves the problem, replace the card reader.
2) Use a different card. If that solves it, toss the old card.
3) If multiple sticks of internal computer RAM, swap them. If that fixes it, or, the problem 'moves' to other images, replace the RAM. It could be only 1 of 2 sticks bad, though, so use only 1 of the old sticks for a while to see if the problem recurs.
4) If you have multiple hard drives in your computer, or an external one, use that to store the photos for a while. If the problems go away, it's the drive. Note that hard drive failures typically start slowly and increase gradually. On occassion, though, your computer won't boot and it's all over. If you are down to thinking it's the hard drive, it's time to get a good backup...NOW!
For what it's worth, I had a similar problem with corrupted photos. Both RAW and JPGs were affected. But as the problems were after having loaded and initially viewed them on my HD, I knew it was a computer problem. It dogged me for a couple of weeks. I even played swap the memory sticks, pull one out and run on one only, swap the one for the other (running on one), and it STILL kept happening. I finally gave up and replaced both sticks of RAM. That solved the problem. So much for lifetime warranty from Hong Kong. A very well regarded brand of RAM, no less. My SSD drive was the next one on the list, it the new RAM didn't solve it.

Loss of camera settings when importing raw files in Aperture 3

Hello Everyone,
I seem to have an issue with raw pictures taken with a Nikon D90. I noticed that when shooting in raw, any setting I used on the camera (for example B&W or landscape settings) are lost after the pictures are imported in A3. Did anyone else experience the same issue? Is there any solution to this?
Thanks,
Val

Shooting raw will always give best results and probably simplest to do any adjustments you want inside of Aperture. When you select B&W Aperture is not communicating with Nikon fully or visa versa. It is a simple and more rewarding experience to set B&W or any other settings in the Adjustments Pane in Aperture. There is another small tab also called Adjustments which opens a drop down window. Here there are a range of options to choose from one is B&W. Another pane then opens with red green or blue filters. B&W is sensitive to colour. With these you can change the way the grey scale sees things like the blue sky or foliage.
Another nice feature of raw is no need to worry about White Balance. Leave the camera on Auto WB, any inaccuracy can be easily sorted in Aperture. Nikon has quite good auto WB anyway.
To begin, it is best to consider raw as a starting point rather than a finished product until you get used to the things that do and don't interface twixed camera and Aperture.
I hope that is some help. Welcome to Aperture. Allan

Aperture 2 and RAW vs JPG ?

Just downloaded the trial version and haven't done any work yet with RAW files. Previously everything was done with JPG on iPhoto. Should I now shoot RAW+JPG mode on my Canon 30D and then use Aperture for the RAW files? Is using JPG on Aperture worth my time or is RAW the only way to take my next step in photo processing?

I personally see little reason to shoot JPEG for anything. I haven't shot a JPEG in over 3 years, because you can always generate a JPEG from a RAW file, using tools like Aperture, Bridge, or Lightroom.
That said, see if you like the processing options before you commit to a RAW only workflow. That's what 30-day trial periods are for

RAW files not showing when I shoot raw + Jpeg!!!

I have a strange issue that has only recently started happening. I have started shooting raw + jpeg to speed up post processing. However, after I import the files into Organizer the raw files will not show. At first I thought it was the camera. So I used a different brand DSLR. I had the same issues with my Sony and my Canon. I have shoot raw with the Sony for years and never had an issue. I have shot raw with the Canon and haven't had an issue. It is only when I shoot raw + jpeg. I formated both cards prior to using them.
The files are there and not damaged. I used the software from Sony and the software from Canon and was able to view the raw files. I wanted to make sure what I put was accurate so I tried viewing the files again. Even with the Canon software when I tried to view some of the raw files full screen it wouldn't let me.

I am using PhotoShop elements 10. My cameras are a Sony a230 and Canon 60d.

What happens to Raw files when importing Raw+JPG from camera to Lightroom Mobile on iPad? Only JPGs are showing up.

Hey I am Brian, and I was wondering how Lightroom mobile works again as in when importing photos directly into iPad using the camera connection kit.? This is for IPad 2. I . Like when importing raw files. now I just did a photo shoot. and I just uploaded them into lightroom 5 on desktop. the raw files are being pushed as smart priviews acroos ipad and iphone. its kinda cool seeing cr2 file showing up on lightroom mobile. when its coming from lightroom 5. but what about coming from camera to ipad.?
I thought you can import a Raw plus jpeg into ipad and it shows up as a jpeg plus raw file. well its not doing that. shows up as just jpeg.
cant wait for next update of lighroom mobile.

With this version of LR Mobile we not support the direct RAW import.
You can vote for this feature request...Lightroom mobile: Ability to import raw files
- Guido

Adding RAW files to Aperture when JPEG exists

Here's my situation:
I recently bought Aperture and loaded my existing iPhoto library into it. This library only includes JPEG files. I have been shooting RAW+JPEG with a newer camera so I have an entire set of RAW files in a separate folder on my computer (which I never added to my iPhoto library). I want to now load these RAW files into Aperture -- will they correctly pair up with the corresponding JPEG's? What are the steps I need to take to ensure that they somehow pair with the existing JPEGs and I don't end up with duplicate RAW+JPEG files in different areas of my Aperture library? I would also like the RAWs to become the master over the JPEGs.

Read this page of the manual:
http://documentation.apple.com/en/aperture/usermanual/index.html#chapter=4%26sec tion=6%26hash=apple_ref:doc:uid:Aperture-UserManual-91292IMP-SW5
To import the RAW files that match the JPEG files in your Aperture library
Choose “Matching RAW files” from the Import pop-up menu.The Include pop-up menu appears below the Import pop-up menu.
Do one of the following:
To import all matching RAW files regardless of rating: Choose “All matching files” from the Include pop-up menu.
To import all RAW files matching JPEG files that are unrated or better: Choose “Unrated or better” from the Include pop-up menu.
To import all RAW files that match the current rating: Choose “Current filter” from the Include pop-up menu.

When will Aperture 3 support RAW processing for the Canon 5D III?

When will Aperture 3 support RAW processing for the new Canon 5D III?

We are no phophets and also do not work for Apple - so we don't know.
See this thread to join into a discussion with others who also are waiting:
Canon 5D Mk III - RAW update?
Regards
Léonie

Does anyone know when Aperture will support RAW files from the Canon Eos 7D mkii?

Does anyone know when Aperture will support RAW files from the Canon Eos 7D mkii?

Only Apple knows. The never announce upcoming RAW support in advance, sorry. And if anybody knew, it would not be allowed to post this information here.

Comparing RAW vs. jpg in Aperture When Shooting RAW + jpg

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