Moreover, it’s not straight forward to decide which manipulations are to be viewed as development or enlargement steps. It’s important to note that in almost all cases the import step using, for instance, the Adobe Camera Raw (denoted ACR) application alters the raw file to achieve a certain look, thereby the semantic difference between an unaltered slide and an altered positive. We will partly overload the term image to both mean the outcome of the enlargement process as well as to refer to any kind of “image” in a general setting, but the intended use shall be clear from the context. But, we will still keep track of the frames in LR to ensure traceability from film strip to images. This layer cannot be edited in LR, therefore we create and import stripped analog raw instances we refer to as negatives and analog slides. In the case of files originating from a scanning process of a negative or reversal film, we call them frames and they contain not only what we may call analog raw data, but also an additional layer describing existing dust and scratches. These can be read from the card and imported to Lightroom (denoted LR), and we call the resulting files digital slides since these, as their analog counterparts, can be seen as miniature transparent images. In the case of a digital camera, its memory card contains files we call digital raw files. Why try adopting an analog process terminology to digital photography? The honest and simple answer is that our photographic journey started with long nights in the darkroom, and the acquired skills still influence our way of thinking and working. However, this is in some cases not easy and we have to make use of terms with slightly different semantics than normally seen. Let’s begin with a brief introduction to some basic terminology we use, as we try to adopt a traditional analog process approach to both files from digital cameras and scans of analog films.

Silverfast hdr 48bit raw file