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By Louis Royer (@Isolbird)Share:

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In late fall 2020, Apple updated iOS to allow iPhone 12 Pro and 12 Pro Max to record in Raw photo format. A new function whose performance we wanted to test.

As of the iOS 14.3 update in December 2020, the iPhone 12 Pro and 12 Pro Max can save photos in Raw format. Let's see in detail what this recording format already well known to photographers offers.

Apple iPhone 12 ProLaunch price €1,159Note Les Numériques(3)read the testBuying second-hand: Buying new: How the price table worksApple iPhone 12 Pro MaxLaunching price €1259Note Les Numériques(3)read the testBuying second-hand: Buying new: How the pricing table works

The Raw, the photographer's ally

Because if this is a great first for the Apple firm, the Raw files (which we translate by "raw file" in French) group together several recording formats that have long been available on more traditional cameras. This is not a novelty on the Android side either, since third-party photo applications already made it possible to use such a function. In 2013, the Nokia Lumia 1520, then running under the Windows mobile OS, was one of the first smartphones to offer this functionality.

A photo captured in Raw saves a maximum of data, as opposed to Jpeg format, the compression of which loses valuable information. Raw files thus offer more latitude in terms of correction and photographic retouching. It is for this reason that this format is highly prized by experts, who find in it the best quality and great flexibility for the various stages of post-production.

At Apple, capturing photos in Raw will save files in "dng" format, while by default saving is done in Heif in .heic format. Like Jpeg, the loss of information during Heif compression is also significant. On the other hand, the algorithms are more efficient in Heif and make it possible to reduce the size of the file for a quality equivalent to that of Jpeg; the recording in JPEG of course remaining available.

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What is Apple ProRAW?

Theoretically, recording in Raw format therefore offers the raw data to be reworked. However, several manufacturers prefer to make the photographer's job easier and offer Raw files that are not really Raw. Apple's ProRAW format was cooked in-house and does not really correspond to a raw file as found with some photo manufacturers.

Indeed, ProRAW works hand in hand with Smart HDR 3 and Deep Fusion. The first option automatically adjusts the highlights or shadows to recover as much detail as possible. The second option is computational photography. When the shooting conditions are not optimal, the iPhone will merge 9 shots into 1 to obtain a better photo.

Heavier files

Due to the absence of compression and saved information, Raw files are mechanically heavier than other formats. At Apple, the Raw is thus almost 6.5 times heavier than the same shot recorded in Jpeg. The Raw is even 11 times heavier than a Heif shot. It will therefore be necessary to monitor the memory capacity, particularly with synchronization in the often expensive cloud.

A not very flexible solution, à la Apple

No manual mode available natively

Apple likes to control its products and how they are used. And iPhone cameras are no exception. Since the first model, there is no manual mode. The controls left at the disposal of the photographer are limited and it is mandatory to go through the general menu of the phone to modify some shooting parameters. It's quite tedious and it obviously repels the photographer.

And even if you want to try your hand at photography in Raw, generally dedicated to advanced users, activating the dedicated mode will not allow manual adjustment of the shot either. Also note that Raw capture is only possible in the traditional iPhone mode (very wide-angle, wide-angle or telephoto). Unable to combine portrait mode and ProRAW.

No Raw+Jpeg

Unlike most other manufacturers, Apple's phone also does not allow simultaneous photography in Raw and Jpeg/Heif. To capture photos in Raw, you have to go to the "settings" menu of the terminal then select the camera and finally activate the Raw. It is also in this tab that it is possible to alternate between Heic and Jpeg (”high efficiency”, “most compatible”). Once in the "Camera" application, you will notice the logo at the top right “Raw”. Just click on it to enable or disable Raw shooting.

The photographs in this file are taken from an iPhone 12 Pro and a Pro Max. The main module is equipped with a 12 Mpx sensor, 26 mm optics (24x36 equivalent) which opens at f / 1.6.

Apple, the premium for exceptionalism

In addition to these small constraints, there is that of file transfer. Depending on the transfer mode or the destination device, a conversion to Jpeg is sometimes unavoidable, whether you shot in Raw or Heic.

An interesting difference

Without manual mode, we couldn't perform our usual sensitivity ramp-up test — which we use to assess camera sensitivity and to compare Raw and Jpeg. We are therefore going to compare the results from the files captured at full brightness, then with very low lighting; conditions that we regularly apply to our smartphone tests

More detailed shots

The differences are actually quite marked. The Raw shot is much more detailed, when the Jpeg offers a lower quality, with a more pronounced smoothing, but a flattering colorimetry. This finding is fairly standard. The sharpening of the Raw file — notably visible on the cover of the book — is, however, rarer.

Since March 2021, Adobe applications natively support ProRaw and thus allow more latitude when correcting files. Thus, Lightroom no longer automatically applies patches that could distort the image, as was the case when ProRaw was launched in December 2020.

Rendering in low light

When light is really lacking, the small sensors of smartphones suffer. Whether in Raw or Jpeg, the quality of the details is strongly affected. The Raw file ("dng") offers a slightly less damaged rendering; Jpeg is more noisy.

It may look like the shot was taken in a different light. But this is not the case, the light intensity is identical (3 lux) on the two photos. The same goes for sensitivity (1000 ISO) and exposure time (1/17 s for Jpeg and 1/18 s for ProRAW, a negligible difference).

A demosaicing that differs from one software to another

Intrigued by these disparities, we insisted on opening the Raw files with the Apple Photos application. Unsurprisingly, the results are a little different. It is a classic of image processing, each software publisher offering its own rendering. At Adobe, the details are more accentuated, however the differences remain tenuous.

At Apple, the rendering with the Photos application is far from showing raw shots resembling those of reflex or hybrid cameras, that is to say very dull, sometimes displaying distortion. The Raw files here are very close to the Jpegs generated by the iPhone and it is therefore difficult to detect a notable difference. One wonders if we do not see the effects of Smart HDR 3 during demosaicing. Note that our tests with the Windows viewer also show a less accentuated aspect compared to the Adobe solution.

The manufacturer wants to offer a similar rendering between macOS and iOS, without the user needing to intervene. The details on the file extracted from the Raw are still superior, with a more marked presence of noise, unlike the smoother Jpeg. Some colorimetric drifts present on the Jpeg, notably visible on the model's cheek, are absent from the Raw. That's a good point.

An asset for editing

Recovery of shadows

One of the main advantages of Raw is to offer a great latitude of correction to the development of files. In practice, after editing several images, we were finally able to appreciate the capture in Raw on iPhone. This is a particularly interesting function in low light to retrieve information hidden in the shadows.

Notice that the very obscured panther photo with a simple recovery of shadows appears more clearly. When compared to the Jpeg file recorded under strictly identical conditions, grain remains more visible, but the overall quality of the image is rather good, with an accentuation of the details which highlights the photo exported from the Raw. This example gives a good idea of ​​the editing potential of the ProRAW format.

Practical to limit smoothing

When we observe two night shots, we better understand the interest of capturing in Raw. On the Jpeg, the rendering is flattering and well accentuated by Apple for full-size viewing, which this type of file is generally intended for. But once cropped to get closer to the original definition, there is a clear degradation of the image, with in particular the clearly observable noise. The smartphone uses a fairly marked smoothing to compensate for the increase in sensitivity.

If you shoot in Raw, you can limit the software accentuation and the smoothing of the image which causes the detail to be lost, which you can see in the cropped extract. This results in a more neutral work base — less flattering — but of better quality. Unfortunately, the iPhone can't work miracles, especially in the highlights, which are difficult to catch up, as shown by the irretrievably lost subway entrance. As often, it is the shadows that are the easiest to correct.

Let the photographer's vision run free

During the day, using ProRAW mode is just as interesting. For example, it is possible to easily adjust the colorimetry to your liking. We can also lead shadows to bring out invisible details in Jpeg, as is the case on the back of the statue in our photo. The same editing with the Jpeg format generates much more noise. There is also a more neutral colorimetric rendering with Adobe software.

A practical function, but a little restrained by Apple

We can only welcome the arrival of the ProRAW format on some iPhones. For photography enthusiasts, this was a shortcoming that needed to be corrected. However, the lack of manual mode on iPhones, combined with certain limitations inherent in the operation of Apple terminals, makes the option less attractive. It will also be necessary to be careful with the software used, the rendering when opening the file being very different from one editor to another. Adobe (with Photoshop or Lightroom) plays the card of effective accentuation, while Apple wants to offer an identical experience** on all its applications and devices.

If the arrival of raw files at Apple is a little late, the gain is there. They bring more details to the shots, better quality and more possibilities in post-production, in particular to catch up with shadows. Being able to manage the final rendering yourself is a real plus, but it is also the biggest disadvantage of Raw. Without going through an editing software, its interest is limited and it will then often be more efficient to be satisfied with the file generated directly by the iPhone.

Louis Royer@Isolbird

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As Enios said, the problem is carrying around an SLR (or even a small hybrid) is restrictive.

Afterwards, the question is not so much to compete with an SLR, but rather to be able to recover your files via raw, avoiding the entire post-processing layer, in addition to being able to recover information in high/low light lost in jpg/heif. On an application like Lightroom, and if you are already aware of the fact of "developing" your raw via other devices, it's really a good thing.

On the other hand, the number of limitations still imposed by Apple is quite insane: the fact that a manual mode is still not available, and that in addition, we still cannot freely access the files that we stores on his smarpthone, it's quite revolting to still be at this stage in 2021.

Yes, without even mentioning the more or less hidden part of the iceberg, namely the linked objectives.

I admit that I can't switch to a smartphone to take pictures. The format doesn't suit me (handling), trying to compose either... and as for the quality of the final rendering, it's "ok" during the day (but the level of detail has nothing to do with a reflex, don't have fun doing a crop), and as soon as the light goes down, it's quite impressive carnage as soon as you extract the photo to display it on a big screen.