Shooting raw+jpeg and replicating treatment

If you shoot raw+jpeg and happen to like the jpeg treatment of a given shot, is there a way to precisely replicate or transfer the jpeg pp parameters to the raw? Not by eye, but precisely.

Jao vdL wrote:
The only way to get perfectly the same rendering is to use Canon's software.
While technically true, in practice, not so much...
The first and most important thing one must grasp (and accept) is there is no such thing as "correct" when it comes to rendering raw files...the raw sensor data is something that is subject to interpretation...it;s like shooting a color neg–the best interpretation may not be the most "accurate" nor "technically correct".
If you fall in love with the JPEG rendering, you will find life somewhat frustrating if you use Camera Raw or Lightroom because as pointed out above, if you are trying to "match"" (as in accurately replicating the exact tone and color) the rendering produced by Canon or Nikon, you're life will, essentially suck...because matching the EXACT rendering in ACR/LR is not going to be a pleasurable experience–it's doable but the question you gotta ask, is it worth it?
Shooting Raw & JPEG is an exercise in futility...you either get quick and easy JPEGs you can use (with zero chance matching them in ACR) or raw fles that you can control the rendering on (but pretty much forget matching the JPEG exactly)...
You would be better off shooting raw and learning how to render out JPEGs quickly that WILL match the raw files (cause they are based from the raw files).

Similar Messages

How is the Raw data used in iPhoto. I currently shoot both jpeg and raw and import them both into iPhoto.

How is the Raw data used in iPhoto? I currently shoot both jpeg and raw and import them both into iPhoto. What do I gain by collecting Raw data?
Thanks

You get more parameters for making adjustments to the image. This is not really an iPhoto question but more a general photography one. In rather simple terms here's how a digital camera works:
You expose an image. A lot of data is gathered in by the sensor. But it's just a bug lump of data and not very useful in that form.
In cameras that shoot jpeg that mass of data is interpreted/processed into an actual image, and the image is stored in a jpeg file. (that's a process broadly analogous to developing a film). The decisions that go into making that interpretation are all made by an engineer somewhere, back when the camera was developed.
If you shoot Raw, then what you do is take that mass of data, and rather than working to the decisions made by that engineer, you develop the shot - you run the digital darkroom.
Why would you do this? Take on all this extra work? Well one of three reasons: a: you think you can do a better job than that engineer. b: you just prefer the result you get when you develop yourself or c: you're a hopeless shooter and raw means you have more options to fix the mistakes you made in the camera. (That's why I do it.)
Here endeth the two dollar tour. So, basically, if you're happy with what your camera produces in Jpeg then there's really no need to shoot Raw.
There's no need at all to shoot Raw+Jpeg as iPhoto creates a jpeg preview when you import, so you're just wasting space.

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

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.

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.

In L/R 3, is there a way to import JPEG's only when you are shooting RAW + JPEG?

In LR3 is there a way to import JPEG's only when I am shooting RAW + JPEG -- say in the case of being on-location and I want to create a quick slideshow without importing the large, slow RAW images? (Shooting only in JPEG is not an option -- wedding photography.)

The answer in short is no....but...if you separate your images before import then they will be imported as desired. You could import to LR and rename or resort or put in quick collection and separate jpeg from RAW and then put them into a separate folder. As an aside, shooting jpeg +RAW seems duplicitous since LR "sees" both formats. To my mind...I work as a professional retoucher...just shoot RAW since it is just as fast as jpeg in capturing images, and you have the freedom to adjust the images uncompressed. Then import the images as RAW into LR...if you truly need jpeg for something like sending to a client, simplt export them as jpegs via the Export dialog. Your original RAW images are unaffected!

Shooting Raw + Jpeg

I frequently shoot raw + jpeg so have a lot of files with the same name but different extensions. When I try to import the raw files and jpegs both into Lightroom (I'm using version 1.0) I only get the raw files. If I try to import the jpegs separately it tells me that they are already in the library. Is there a way to import both?

Okay, that will work Sean. I have another question for you. My practise has been to keep my raw files and the final converted JPG. I use the JPG for most applications, and only go back to the raw file if I need to reconvert for some reason, perhaps to make a TIFF for a really big print.
So, I have about 45,000 photos that I have both NEF and JPG versions. I want to keep both in my LR library, plus any other "versions", such as a reduced JPG for the web, all in my LR library.
Also, as I go through the library and want to cull images, I want to delete all the "versions", the NEF, JPGS at once.
How would you suggest I go about this in LR?
Thanks in advance (and thanks for all your great work and nifty blog site :-)

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.

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.

Viewing raw + jpeg problem

I shoot raw + jpeg. When I import from camera or from folders on my hard drive, both the raw and jpeg versions are transferred, but I only see the raw. There is no extension, but I can tell it is the raw because of the info in the metadata. I know the jpeg transferred, because it is in the packet, and I can make it appear by using the "copy from master jpeg" feature. But that duplicates the image in the packet.
The real problem is that I have thousands of processed jpeg images that share the same filename as the raw, except for the extension (.cr2 for raw and .jpg for jpeg). But when I import, I only see the raw version and not all the cropped, color corrected one. And when I shoot raw + jpeg, I don't see the jpeg. I want to view both, because sometimes the camera jpeg version is sufficient, and then I don't need to post process the raw.
How can we view both the raw and jpeg when shooting raw + jpeg and when importing images that have the same name for both (such as 051204photo01.cr2 and 051204photo01.jpg)? Until I can figure this out, I've had to stop importing all photos and using Aperture, because I am unable to easily view the thousands of processed photos I've created (only the raw version is displayed, though both are in the packet)
Paul

Sam:
It works like a charm. Here's how I tested. I shot 2 photos as Raw+Jpeg. I then put the CompactFlash card in my reader and confirmed there were 4 pics (2 raw, 2 jpeg, with the versions sharing the same name but different extension). First I imported the normal way by dragging the folder into Aperture. I end up seeing only 2 photos. Next I copied from the flash card to my hard drive and added a folder called JPEG Folder inside the folder (at the same level as the photos). I moved the jpeg pics into it and left the raw outside. This gave me an outer folder that contained 2 raw pics and a folder (containing the 2 jpegs). I dragged that into Aperture, and I now see all 4 photos. I used smart stack to separate them into 2 pairs. Unfortunately the thumbnails don't include extensions (we should have the option to turn them on). But using the inspector, I found that the raw was the first one, with the jpeg to its right. I can now compare them and delete one or the other. As a test I did just that, trashing the raw version of one pic and the jpeg of the other.
You mentioned that the project needs to contain all files. I noticed when I first stumbled on this problem that both versions are indeed in the packet. We just aren't able to see the jpeg version on import if it's in the same folder as the raw. By moving it into a separate album, Aperture then "sees" the jpeg version that is there all the time. This seems the only sensible way to deal with the files when shooting raw+jpeg.
Paul

RAW+JPEG with unsupported RAW

I'm now using a Panasonic Lumix DMC-L1 (and really liking it), whose RAW files aren't yet supported by Aperture. I figured out that Aperture silently imports the JPEGs with the RAWs (camera shoots RAW+JPEG), and also how to make a version from the JPEG master.
Is there any way to re-associate a JPEG master with a RAW master inside a project? I accidentally deleted a JPEG master. I could pull it out of the trash and reimport it, but then it was not considered associated with the RAW master. I ended up deleting both masters and reimporting to reconnect the masters.
The other question is there any way to edit externally the RAW file? Aperture's external editing feature seems to only export as TIFF or PSD, but my camera came with Silkypix which is a very capable (but odd) RAW editor. If I import the RAWs into Aperture I don't see any way to use Silkypix as an editor. Any ideas, or does it just make more sense not to put the RAWs into Aperture as long as I have to use Silkypix? RAW shooting is a new thing for me.
PowerBook 15" 1.5GHz Mac OS X (10.4.8)

That seems a lot of effort, so can you not edit the
RAW's before importing to Aperture and then use
Aperture for image management, fine tuning, selects
etc.?
Exactly the course I've decided to take until Aperture supports my camera's RAW. After some photo comparisons I've decided to shoot RAW and ignore the camera's JPEG, develop to 16-bit TIFF with Silkypix and then import the TIFFs into Aperture. It takes a bit of processing time up front, but the quality is worth it.
I've put together a side-by-side comparison of the camera's JPEG and the JPEG I export from Aperture after going through the RAW-to-TIFF conversion. The quality difference is quite noticeable.
See the comparison picture at http://www.puppethead.com/misc/lumix_l1-compare.jpg
PowerBook 15" 1.5GHz Mac OS X (10.4.8)

The availability of color space in RAW, TIFF and JPEG files

This is useful if your new to DSLR photography.
This is Nikon response on my question in the discussion: View photo metadata
I'm assuming that you know that Adobe RGB shows about 50% and sRGB 35% of CIELAB color space.
In a DSLR camera like the Nikon D800 you can select a color space (Adobe RGB or sRGB) in the shooting menu.
In Adobe Lightroom 4.3 the RAW metadata shows no color space info. Therefore I asked why not?
In the (Dutch) Nikon D800 manual on page 84 (about RAW) and 274 (about color space) and Nikon FAQ website there is no descripton about the color space availability/behavior in RAW, JPEG and TIFF files.
In the book "Mastering the Nikon D800 by Darrel Young" on page 125 - 126 is written: "If you shoot in RAW format a lot, you may want to consider using Adobe RGB....."
All experts on this forum answered: color space does not apply/affect the RAW data file or RAW files have no color space.
The respone of Nikon Europe Support (Robert Vermeulen) was: In Nikon D800 NEF RAW files both color spaces (Adobe RGB and sRGB) are always physically available. In JPEG and TIFF files only the in the shooting menu selected color space is physically available. So the forum experts gave the correct answer!
Of course you can convert afterwards a JPEG or TIFF file with sRGB color space to Adobe RGB but you don't get more colors.
When you install the Microsoft Camera Codec Pack or FastPictureViewer Codec Pack they only show color space metadata for JPEG and TIFF files and nothing for RAW because color space "doesn't exist". I thought the codec packs removed the color space metadata for my RAW files.
Adobe Lightroom also can not show color space for RAW files because that "doesn't exist".

Van-Paul wrote:
The respone of Nikon Europe Support (Robert Vermeulen) was: In Nikon D800 NEF RAW files both color spaces (Adobe RGB and sRGB) are physically available. In JPEG and TIFF files only the in the shooting menu selected color space is physically available.
I still think this is an evasive answer that doesn't really pinpoint the exact chain of events that take place. They are:
1. The raw file contains the naked data captured by the sensor. This is just a very dark grayscale image.
2. In the raw converter it is encoded into a working color space to process the information. In Lightroom this is known as "Melissa RGB", or linear gamma Prophoto. It is also demosaiced to bring back the color information.
3. From Lightroom it can be exported to one of the familiar color spaces like sRGB or Adobe RGB. This is, in principle at least, a normal profile conversion.
These three steps are what the camera does to produce a jpeg. So the basic steps are the same, the camera is just doing it automatically (and usually butchering the image in the process...).
This Darrell Young is, I'm sure, an excellent photographer, but in this he is seriously confused and just propagating a common myth. Anyway, thanks for bringing up this discussion, hope you didn't object too much to the tone of the answers... Our only concern here was to get this right and with no room for misunderstanding.

LR4 Importing random jpeg and raw

I've had LR 4 for a week now and have a serious problem with the import.
I am usually shooting raw+jpeg so I quickly can send my clients some of the photos on location.
When I get to my office and start importing from the memory card the first 200 images or so will work fine, and show up in LR as raw+jpeg.
After that LR starts importing some of the files as jpeg only - seems to be completely random.
The biggest problem is that earlier both jpeg and raw would be copied to the library. Now that's not happening. If a file is imported as jpeg it is not copied to the hard drive.
They're just gone - and I deleted the memory card for another job before I found out about this. Nothing to be done about that, and luckily I still have enough shots to get the job done.
I'm wondering if anyone else is having this problem.
I'm using a 5dMKII and a 7d - same happens with both cameras.
I use an iMac with OSX Lion.

I'm having the same problem, and I'm curious to see if there will be a solution. I am also working with a 5dMKII and OSX Lion on a MacBook Pro.

Import of RAW+JPEG pairs?

Just when I thought I had it all together...I seem to have forgotten where I put it. I need some expert assistance.
Aperture manages my Library which is kept on an external HD.
I shoot RAW+JPEG on my D200--two image files for every shot. To anticipate the question--I'm learning about the D200, and I want to be able to see the IQ differences between an Aperture-adjusted RAW image and a D200-adjusted jpeg.
I understood that when I imported my image files into Aperture, both files of the pair were imported and saved in my Library. I know I was working with the RAW file for all my adjustments and exports, but I believed that if I wanted that camera-adjusted jpeg, it was available from my Library. I'd also understood that I could call up that camera-adjusted jpeg using Option+J while selecting the paired RAW image in the Viewer. I know I can get a jpeg counterpart to the highlighted RAW image using Option+J--but whether it is generated by Aperture or camera is now uncertain.
Can someone who knows answer the following:
(1) Are both images in the shot pair (.nef and .jpg) imported into Aperture?
(2) If the Option+J image is not the downloaded, camera-produced image--then where does the resulting jpeg file which appears come from, and where are the adjustments for it set?
(3) If my original understanding is correct and both images in the pair were loaded into my Library--why can't I find the paired jpeg? It's not listed with the RAW files in my Finder, and my Spotlight doesn't find it either.
(4) Is there a way to get that paired jpeg into my Library along with its RAW counterpart.
One note on backup workflow: If those paired jpegs aren't imported into the Library, I'm fortunate to have followed advice from some of you here in the forum. Thanks to you, I always download my files using a reader and save them to a folder on my desktop. After importing them into Aperture from that folder, I move them to a folder I use to accumulate a batch for burning to a DVD for archiving. Only when burnt, do I erase them from the desktop and reformat my card. If, in fact, I've been wrong about those paired jpegs being in my Library, then I've still got them on my DVDs. Instead of being redundant with my Vaults, the DVDs will be my only source for them. Thanks to those of you who got me to buy into that workflow.
Terry

Thanks. A little Tough Love from the experts sent me back to try one more time to puzzle through the pages of posts on this subject. Sorry, but there's too much noise and contradiction in those pages of posts for me to buy in.
I did what each of us probably should do--an experiment. I noted the "New Version from Master JPEG" aka Option+J was grayed out if only one of the pair (either .nef or .jpg) was imported. Only having the pair imported activated thet Option+J pick. Excellent, and just what I hoped to see.
I also drilled down to the lowest level of the imported image folders in the Library. I'd previously stopped when I saw the image name but for some reason neglected to open the lowest folder to check for file extensions. Careless on my part. I confirmed what everyone here is regularly assured--that all the imported image files are available in the Library (and Vaults) should Aperture fail, or someone decide to leave Aperture for the dark side. Again, just what I hoped to see.

How to have iPad (iOS 5) import only the JPEG from a RAW JPEG pair?

I have an iPad 2 16 GB, running iOS 5. I also have a Canon EOS 7D. I purchased a CF Card Reader for the iPad (see http://store.micgadget.com/card-readers/280-ipad-2-cf-card-camera-connection-kit .html) so that I can view and edit photos quickly in the field, without having to lug my laptop around. To make this easier, I set my camera to shoot RAW+JPEG. I shoot with the smallest JPEG files possible, still a relatively large for the iPad 2,592x1,728, with the idea that I'd only import the JPEG files to the iPad, but still have the RAW files to work with when I get back to my computer. This works great with one exception: the iPad doesn't allow me to import only the JPEG files, but grabs the RAW files along with them. As you can imagine, this fills up my iPad rather quickly, and takes quite a bit longer to import than if it only grabbed the JPEGs.
So here is my question: How do I have my iPad import only the JPEGs from the RAW+JPEG pairs on the memory card?
One workaround that helps slightly. If I connect my iPad to my computer after the import, I can go in via Image Capture, select all the RAW images and delete them, leaving the JPEGs behind. This is an underwhelming solution, but does save space after the fact.

What you are seeing is how Safari works now in iOS 5. There is no way to get that icon in Safari now. There other much better browsers available in the App Store. Look at iCab Mobile, Mercury, Atomic, ....
I have been running iOS 5x for so long now, that I don't even remember if that icon did appear in earlier iOS versions

Shooting raw+jpeg and replicating treatment

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