Two ways to get a JPG out of a RAW file
Develop the RAW reads every photosite the sensor recorded. The converter applies the white balance the camera recorded, demosaics the colour filter at full size (Fujifilm's 6 × 6 X-Trans filter included), maps the camera's colour to sRGB with the camera's own matrix and sets the brightness to match the JPEG the camera made. The result is the full sensor, neutral, ready for editing.
Use the camera's JPEG copies the JPEG the camera embedded in the file, byte for byte, with the camera data added. It is instant and it is exactly the camera's look. Canon, Nikon and Pentax embed a full-size JPEG; Sony, Fujifilm, Panasonic and Olympus embed a smaller one, which the table shows.
| Format | Cameras | The camera's own JPEG inside (measured) |
|---|---|---|
| CR2 | Canon | full size: 5760 × 3840 on an EOS 5D Mark III and 5472 × 3648 on an EOS 6D |
| CR3 | Canon | full size: 6000 × 4000 on an EOS M50 |
| NEF | Nikon | full size: 6000 × 4000 on a D7200, beside 1620 × 1080 and 640 × 424 copies |
| ARW | Sony | small: 1616 × 1080 on an A7 II, so for a full-size picture keep “Develop the RAW” |
| RAF | Fujifilm | 1920 × 1280 on an X-T2 and an X-T20, a fraction of the 24-megapixel sensor |
| ORF | Olympus and OM System | 3200 × 2400 on an E-M10, two thirds of the sensor's width |
| RW2 | Panasonic | 1920 × 1440 on a GX80, under half the sensor's width |
| PEF | Pentax | full size: 6000 × 4000 on a K-70 |
| DNG | Adobe's open format | anything from 852 × 640 (an iPhone SE DNG) to full size (6016 × 4000 on a Pentax K-3 II) |
Brightness and colour
A RAW file does not say how bright the picture should be: the camera decides that when it makes its JPEG. The converter reads that JPEG's tones and develops the RAW to the same mid-tone, then applies the brightness slider on top. On twelve files from nine formats its average lightness was within 2.5 units (CIE L*) of the camera's own JPEG.
What it does not do
- No lens corrections: distortion and vignetting that the camera removes from its own JPEG stay in the developed picture (most visible on Micro Four Thirds).
- No sharpening and no noise reduction: the developed picture is what the sensor recorded, which at 100 % looks softer and grainier than a camera JPEG.
- No picture styles or film simulations: the developed colour is neutral. The camera's own JPEG keeps them.
- Apple ProRAW and other already-demosaiced (linear) DNGs are refused by name, not guessed at.
- Memory: a 24-megapixel file needs about 0.5 GB while it is developed, a 60-megapixel one about 1.3 GB. Files are converted one at a time so a batch does not add up.
Shot a focus bracket? The focus stacker on this site reads the same RAW files and merges them into one picture that is sharp from front to back.