There’s a lot of received wisdom in photography, and one of the most enduring is to ‘always shoot in raw’ to get the maximum detail from your sensor. The raw file, the argument goes, is the digital equivalent of a film negative – the master from which your finished image is derived. True, but this analogy overlooks the fact that many film photographers used transparency film, where what you get out of the camera is your finished image. The JPEG, therefore, can be seen as a digital tranny.
JPEG capture has improved immeasurably on today’s cameras, and with careful technique you can get images of fantastic quality – so much so, that more and more pros no longer bother with raw. This issue celebrates the JPEG and is packed with…
