When you take a picture, a host of this kind of picture information is captured in a raw form, and then immediately processed using settings you’ve specified in your camera’s menus. PSD can’t handle the kinds of information that digital cameras can record, such as a specific white balance, sharpness, variable tonal curves, and other data. Your digital camera can’t read or produce PSD files at all. The latest version of PSD is the closest thing we have to a standard file format, and that’s only for image editing. Yet, we’ve had many variations on TIFF, more than a few Photoshop PSD varieties, plus, in the olden days, proprietary formats like. You’d think that a single format would do the job. Once you begin working on an image in an image editor, not a lot more data is required. You also need the ability to store overlay-like layers, data about fonts used, and other information. Some of those bits might be set aside to represent selections within an image. Each pixel might store 8 bits, 15 bits, 16 bits, 24 bits, 32 bits, or 48 bits of information. Digital images consist primarily of rows and columns of pixels arranged in a bitmap. There’s the possibility that you’ll be locked into a particular set of tools because you want those extra features. As a result, they invent a new file format with a few extra features that tweak the capabilities a tad. Vendors always think they can do something better than their competitors, or, at the very least, hope that you’ll think so. It’s no secret why there are so many “standard” image file formats. In this section you’ll find a bit of explanation about the utilities that can make your digital images shine. However, for most dSLR owners, choice of file format is the primary tool for providing as much power over your photos as possible. If your camera allows uploading particular correction curves, that too can offer a degree of control.
It’s a little like selecting a film that features a particular kind of rendition-saturated and contrasty, or muted and accurate-to produce a particular result. Instead of choosing a file format solely to save space, the digital SLR shooter often selects one option over another because of the extra quality that might be provided, or the additional control. Any photographer serious enough to purchase a digital SLR has purchased at least enough memory cards to serve any picture-taking situation this side of an extended vacation. When it comes to dSLRs, the available formats and reasons for selecting them are much more sophisticated.
They use the default format offered for their cameras and maybe switch from Super Fine to Fine to Standard modes (losing quality with each step down), in order to cram more pictures onto their memory cards. Point-and-shoot photographers using non-dSLRs rarely have to think about file formats at all. When it comes to file formats, digital SLR shooters have many options to choose from. Photoshop CS TradeBonanza - Trader's Daily Digest | Financial Comic Strips
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