hello I'm Graham and I hope everyone's having a great day I'm welcome to part three in the series
where I've been looking at the episode 82 from Panasonic and a little bit more detail thanks
for your comments on part 2 I really appreciate you taking the time to do the feedback and I've
taken on board your comments from that now in today's video I want to show you how to use a
raw file to enable you to create out of camera JPEGs which is sufficient for most leads of most
people now if you need the cameras of abuse and larger prints or for exhibition type prints in
camera clubs then you may need to use RAW files to get the very very best out of that image but
for most users the other camera JPEG is fine most of my work from all my camera's unless I'm using a
full frame or the aps-c for particular uses will be out a camera JPEG and I've learned how to set
up the cameras to give me the right conditions out of camera meant with the panasonic bridge cameras
especially the 1 to 38 sensor cameras i've not found much advantage in using the raw file but
there is a facility in this camera called the RAW processing facility which allows you to spine tune
those are raw file to give you the correct out of camera JPEGs and it's in this video i'm going to
show you the process so well you can take one file and create multiple JPEGs with different
settings you could actually do that out in the open so you wanted to take some landscapes you
could take one with a natural photo style with +1 sharpening 2 sharpening 3 shovelling but by doing
that you're running 2 variabilities of light and changing scene conditions so it's better to have
a control situation now in this video I've used this doll on the desktop taking one raw file with
its associated JPEG in the standard photo style without any settings applied to it and there's
no digital announcement supplied in cameras such as high resolution or I dynamic turned
off Auto diffraction compensation don't sort of things so it's a straight forward out of Camera
Raw JPEG file then I've actually taken that raw file and process it multiple times to show you
the difference in hunting things like a bit of contrast or a bit of saturation noise reduction
sharpening applying one change at a time so you can affect see the effect and then finally
applying all the Amalgamated changes to produce the final noted JPEG file that I like from this
particular camera now it's a it's a very user oriented setting what suits me may not see you
my style of flop of it may not be your style of photography you may be a portrait man and you
might want to have different settings where I take a lot more landscape and nature photographers so I
tend to use a natural forest style and increase saturation and sharpening in post edit rather
than in the camera so my settings might be totally different to those settings that you will arrive
when you follow the process that I'm going to detail next okay let's have a look at the raw
and JPEG processing pipeline you haven't got a diagram of the camera in simplices that we had a
subject to lens a sensor a unit called the analog to digital converter which converts the analog
voltage from our sensor into a digital voltage that the CPU can understand if we're dealing with
raw the CPU will interpret that data and write it directly to the SD card however if using JPEG
processing the CPU will check into consideration things like your photo style settings whether
you've got high resolution set alright dynamic things like diffraction compensation though some
things will be all processed to give a JPEG file and then that's written to the SD card if you've
selected to shoot in raw plus JPEG then both files are written to your SD card now it's the shooting
raw plus JPEG and that's the option I would prefer you to choose so first of all you need to go into
a setup and select a raw plus JPEG so that's the raw plus the three lines of dots which gives you
the fine JPEG when you've shot a file if you look back at the screen in replay mode you'll see at
the bottom left hand side you've got raw plus JPEG in the replay mode you'll actually only see the
JPEG file that's been captured on-screen now as you can see the image two-on-two which I'm going
to use as the base image for all the adjustments are going to make in the internal raw processor so
go into the replay mode and select RAW processing you can see the highlighted on the screen you need
to select the file and this is again image 2 1 2 which is the raw file now we don't begin by
selecting raw to jpg we need to adjust things like white balance so here in white balance when you
press the menu set button you can adjust the white balance that you've captured to any of the white
balance presets such as cloudy sunny or you can actually use the degree Kelvin scale now I know
my studio lights are very close to 5600 Kelvin so I've adjusted these 256 under K and then begin
the raw to JPEG processing when you do that you'll see a screen comes up and says do you want to save
this as a new picture I don't say you are going to do that so you click yes and here we create
a new file image number 2 1 3 and you can see the comparison between the original 2 1 2 and the new
file - on 3 on screen now now the next operation on the carousel would be exposure compensation
but I want to come back to that later in the video now the next operation on the carousel
is the photo style now I was originally shooting in the standard forest aisle but I wanted to see
how this image would look if I'd have shot it in the natural photo style so by selecting natural
and then again pressing the menu set go back to the raw to jpg processing and say that as another
file we can actually see how that would look so it creates another JPEG for us which will be image 2
1 4 and then if we looked at 2 1 4 compared to 2 on 2 which is so you see on screen now you can see
the original vs. of natural and the natural one gives us shadows that are lifted and a little bit
softer and look I've gone back to the original 2 on to file and selected the standard photo
style and now I'm going to look at the next on the carousel which will be contrast and you can change
it plus or minus so you can increase or decrease the contrast so in the first shot I'm going to
increase the contrast by +3 then you can be look at the difference if again if you save the file
here we have the original versus contrast + 3 and you can see it's darkened the shadows and improve
the background you can also change the contrast to - so in this case we should have a fluttered
picture and again you can look at that in the comparison between the original and the one with
at the contrast suggested no the next operations on the carousel are highlights and shadows so I
decided to just boost the shutter savvy by raising them so when is the shadows menu grown up to plus
three again saving that's a new file that can look at image number two on five and this is
the shadows lifted you can see on screen that he has listed the shadows now the next operation on
the carousel would be to add saturation so in this case I'm going to add a little bit of saturation
and I'm going to go to plus two so again use a set command and then write the file back out and
you can see the difference between the original and the one with saturation plus now the next
operation on the carousel is noise reduction and it's an important feature in JPEG file production
Panasonic uses a blur all the algorithm to reduce the amount of noise in an image you can actually
turn it off by selecting minus five and the noise reduction section with that when you look at the
image you can see there is more detail in the finer areas at a slight increase of noise but
we can actually reduce that in post-processing the next operation is sharpness and if you just
going to use the images straight over the camera it's worth considering pushing this up to about
plus two gives you a little bit more sharpness in the image so select plus two in there create your
file and then you can compare the original to the created file you see there's a little bit
more definition in that image now for the next JPEG image about a noise reduction of minus five
and sharpening plus two to give a combination effect to give us a slightly better quality out
of camera JPEG so here's the original versus the minus five noise reduction and plus two sharpening
again in post-production you could get rid of that slight noise increase now in every case when we've
written written the JPEG file we've taken the default provided by the program the wrong file
doesn't have a color space assigned to it so by default it sets it to the srgb which is the one
we know only use and the default picture size of the largest in his set so you can actually change
that to a smaller size if you wanted to create small JPEG files such as a 8 meg if you wanted
to create a smaller file well what about trying to recover a JPEG file that's got overall under
exposure it can be done well here you can see an image that I captured with overexposure the
blinkers are showing on the screen and you can notice that the red green and blue histograms
are hard against the highlight area and this is a shot we get so by using that same raw file we
could actually recover those highlights so it can bring back with the highlights with the - exposure
compensation you can see on screen now the result of that so we've got nice bright highlights and
the saturation has increased but I've done the same by taking that same overexposed JPEG file
and brought back the exposure and again we've got nicely saturated car with bright highlights
so goes to show if you keep your jpg within sort of one and a half hour two stops under
overexposed it is possible to pull back the detail and as we saw in the previous video
if you slip your jpg parameters exactly as you need them for your type of photography you can
achieve some pretty good out of camera results as you can see on the left hand side which is
the JPEG and the one on the right is a process that raw file which also produces JPEG file
now I did say in the second video we're gonna look at the one-click raw processing available
from photo Lima now this gives you that advantage you've just been able to drop the file into photo
lemur let it do it thing and then if you like what you see you just save it it does another
jpg file it saves all the hassle of going through and learning how to use noise reduction sharpening
and other sort of things it's just a one-click solution if you want to use your raw file so we'll
give you an example of photo Lima here I'm going to use this 2 to 7 file which is a file created
by the FS at 80 82 I'm going to right click and I'm gonna open with photo lemurs just using a
Apple iMac so it's the same on Windows really so I'm gonna open the photo lemur app and you
can see that it's now open that image doing this thing doing its magic and it will come up with
a final solution to that particular image well give them the option have been up to change the
way that it looks or set some individual styles so you can see the before image is the thumbnail from
that raw file which is a JPEG image which is used for showing you the file content in Windows or a
Mac so that's the original thumbnail from within that jpg file and the one on the right is the one
that's been processed through photo Lemos I added some saturation and it's darkened the contrast a
little bit if you didn't like what you see then if you click the paintbrush icon on the bottom right
hand side you can actually increase or reduce the effect that that's having so there's no effect
that's full effect and somewhere in between you might find the one that you liked maybe there then
you could just use the export facility to export that as a JPEG on the left hand side you can see
there are some styles and at the moment there's non applied here we've got one called Apollo so
he just took Apollo again reprocess is that file and gives you a different look so here we can see
which is change the coloration of the picture so that's not what we would choose one which is four
which is a orange appearance again against changed my red so that's not going to be applicable for
this type of image Noble again changes the color look again is not going to be applicable for this
style but we've got mono which goes it goes a nice black and white image from that and again we can
control the amount of saturation so there's a nice black and white image from that mono conversion
and the final one is evolve again or processor file and goes a different color lock all together
so we go back to the original which was none just adjust that back to take off so on that reduction
in contrast to maybe there and then we can export that to the disk or as an email or smog bunk just
to disk actually where you want to save it and you can save that file to the directory
you have chosen and that's a simple method of creating a new jpg from your raw file if you
didn't want to bother with things like Lightroom or Photoshop or any of the other raw file editors
and that's our file that's being created now then that sequence say you saw the photo Lima
one click raw processor it's available for free download until the middle of July at the moment
it's not watermark but after then it will probably be watermark so if you want to use that for your
application download it right before July I'll put a link to that again in the video description
lo I did detail it in series two but if you've only joined in part three then you should find
that link in the video description we can actually download it and use it either in
Windows or Macintosh in part four I'm going to be looking at using flash with this camera both
on camera and off camera so in situations where the light level is low which would need you to
use I is OS which have their Intendant noise you can actually get the ISO back down again and use
the light to substitute for daylight either in a hard light or in soft light and I'll
be showing you different techniques to create different lighting styles with your flash gun
now you don't need a Olympus or Panasonic compliant flash gun for this process if you
want to use TTL then of course you do need to use a and I'm gonna recommend the godox range
but otherwise you can use Nick on flash guns Canon clash guns any maker flash gun we're
just at center pin in the manual mode and I'll be showing you all those techniques in part 4
so if you want to improve your flash photography join me in part 4 so until then thanks very much
for watching please do take care and I hope to see you all in the next one good bye for now