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CKrueger wrote:
HE* is great! I know many photographers refuse to lose a single bit of precision across a single pixel, and some even are frightened of lossless compression, but I've happily taken the lossy RAW plunge. At least with LRC, I have no issues with lossy with my Z9, GFX100S, or XT5.
I shot test photos of feathers, fur, hair, skin, trees, and any other texture I could think of, at low and high ISO. I've shot the smooth gradients of sunsets. And I've recovered highlights and pulled shadows. I've even overlaid layers of RAW files to see the actual different pixels to see where the lossy algorithm would hurt me.
Without having a lossless and lossy RAW side-by-side at 100%, there's no noticeable difference in the vast majority of cases. Even when you can detect the difference, the difference is so minor that you have to A/B test to find it. You'd find a bigger image quality difference by going from ISO400 to ISO320.
Lossy RAW is the best choice of image format available for any RAW-appropriate photographic use. At this point the only reason to avoid it is a lack of software support. And hopefully that will be a non-issue in a year or two as manufacturers update their processors.
(Hopefully HEIF support also rolls out quickly, so our forensic and press compatriots can similarly dump JPEG!)...Show more →
You are correct.
There is no real difference between HE* and Lossless Compressed. You might be able to see the most minute difference in the most extreme testing (I.e. a shadow push beyond what anyone would do in practice) and a lab inspection, but absolutely nobody would be able to tell them apart in a blind test or under any normal circumstances, and it would never affect your final result. When a good RAW converter supports it, I will be switching to HE* for everything. HE (no star) is a noticeable step down when you push the file but would still be fine for the vast majority of situations. The nice thing is it's all 14bit still, so HE* is a better file than a 12bit.
Lossy compressed / 12bit is only really noticeable at low ISOs with a shadow push - at higher ISOs the difference all but disappears. Other brands force you into these file types when using electronic shutter or higher frame rates, which is fine for action but not optimal for landscape type work where you are more likely to be manipulating the shadows.
Lossless compression is literally and mathematically identical to uncompressed, and the only reason to ever shoot fully uncompressed would be if your preferred editing software did not support anything else. Good to have the option though I suppose.
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