In my first article in this series (see: You Need a Web Site) I addressed the end of the workflow process, the target. This article starts right at the beginning, in the camera. You have a number of options (at least in the Nikon DSLR product set) for how your image files are created. The D2X series for example, includes the following file types - RAW, RAW plus JPEG, TIFF and JPEG, with variations for JPEG quality (fine, normal and basic). RAW Nikon files are typed as .NEF and this file type is readable by a number of software applications including products from Nikon, Adobe, DxO, iView MediaPro and Phase One and there probably is a wider range of NEF-compatible software applications.

RAW (NEF in Nikon terms) produces a file containing all the data from the sensor at the time you clicked the shutter release. JPEG however, is already processed by the camera and is a bit like a Polaroid photograph when compared with a color slide- there is not going to be as much processing flexibility available to you. Of course using RAW has both benefits and costs.

The benefits include:

• A vast amount of data, from exposure to color temperature and data received by the sensor, is available in a ‘raw’ format and can be varied in NEF-aware software.
• You retain full control over a wider range of settings in post camera processing.
• You can vary these settings without discarding the original image file and you can process and re-process – hidden in this advantage is an important point – you cannot overwrite a NEF file.
• Corrections are easier, more flexible and do not necessarily result in loss of data or reduced quality.
  

The costs are:

• Larger file size (NEF files from a D2X are approximately 19 MB whereas a JPEG file is between 5.9 MB to 0.4 MB depending on quality and image size – ignoring High Speed Crop effect on file sizes).
• Slower processing times both in camera and in computer.
• You need to learn even more skills.

The file size is an indicator of the quality difference between NEF and JPEG files – the JPEG file has discarded 15 MB – 18+MB of data. This data is lost to you if you set the camera mode to JPEG.

Admittedly I am ignoring TIFF files – they can be even larger – a TIFF file for a large image in a D2X runs out at approximately 36 MB – DAM (OK, I was swearing that time) that is a large file. TIFF files have an advantage of being readable across a wider range of software applications, and typically when you license an image, the buyer requires you to deliver a TIFF file, typically managed by saving your processed RAW image in TIFF format. There are two disadvantages to TIFF files in camera – the size will impact processing even more so, and most software applications will overwrite TIFF files, making it easier to lose your original file due to human error.

There will be usage scenarios where JPEG files are suitable. Where storage space limitations arise, or if you are tasked with delivering press or sports or other images where post-processing is impractical.

I use RAW file mode, and use 2 GB memory cards, so I can have only 100 images on a card. I carry 7 cards when traveling; these are pre-numbered, and I make sure I use the cards in sequence. It gets worse. I carry two battery operated storage devices which can each hold 70 GB of data, and each evening when I am away from home, I upload each used card to both of these devices. That way I can re-format and re-use the memory cards knowing I have backups in the field.

What about file names? The file name structure for Nikon files includes a sequence number. I think it is extremely important to ensure that the file sequence number does not re-start for each memory card – that will create duplicated file names. It is far easier to confuse yourself about which file belongs where if you have duplicate file names. I do not change anything else in camera generated file name commands, apart from ensuring a unique file sequence number – at least until I reach 10,000 images on the camera. I use a D2X and a D2Xs, so I do get duplicate numbers – but that is far easier to cope with than duplicate file names across all memory cards. File naming becomes more important when we move a little further along the workflow.

At this point you have identified a consistent file format based on business purpose and skill set, typically RAW if you want to be able to carry out post-camera processing, JPEG if you are taking press and sporting photos where processing time and transmission times need to be as fast as possible, and perhaps TIFF if you can manage the risk of over-writing your original files (and perhaps lose some of the post-camera processing flexibility).

You also have identified a process for managing memory cards and backing up images while in the field. This need not be as detailed as described above, especially if you return home every evening, or are working in a studio environment. At this point you have just completed the beginning steps in your workflow.

I said this was hard work. My next article will take you into the computer environment with your digital imaging workflow.

Previous, You Need a Web Site

Copyright © 2006 John Hindmarsh [Contact ] [Bio]