190 Better Available Light Digital Photography
Color Balance, thus eliminating the need to make postproduction
changes. By eliminating work after the fact, the print order goes
to the lab quicker—and less time equals more money.
Most of Barry’s and much of Joe’s outdoor shooting is in JPEG
mode because the lighting and exposure aren’t that tough to
manage. Interior shots, with a nonchanging basic light setup, are
also JPEG’ed. Barry will switch to RAW capture when the light-
ing is tricky, Color Balance diffi cult and/or changing, and expo-
sure likely to be changing quickly. This often happens, because he
works and shoots “on the run” as a photojournalist. He might be
running from room to room at an event and these rooms are all lit
differently. Fast-moving subjects and events don’t slow down for
slowpoke photographers, let alone stop for Custom White Balance
checks. As a photojournalist, Barry’s main goal is to capture the
moment. As you know, these moments come and go in a heartbeat
and can’t be restaged with any kind of authenticity. He’d rather
get the shot and miss a bit with exposure, knowing that the RAW
capture offers an insurance policy to help out. Barry will also use
RAW, knowing that the end product will be large prints or repro-
duction, in a high-quality or large-format publication.The Financial Times in London
commissioned Barry to photo-
graph world-class adventurer
AnnaBelle Bond in Aspen, Colo-
rado. She was being featured (in
black and white) in their How To
Spend It monthly magazine.
Although he loves the features on
his Canon cameras, Barry has
never mastered the Picture Styles,
preferring to shoot in color, con-
verting to black and white later.
The workfl ow on this assignment
included taking test shots in the
Picture Style mode of Mono-
chrome to checking for contrast
and exposure, but he switched
back to Color mode for the actual
photographs. Shooting in RAW
mode gave Barry the easy task of
converting his edited selection to
monochrome in Adobe Photoshop
Lightroom. © 2007 Barry Staver.
Mary Farace was working with
Barry Staver on a wedding. Taking
his advice, she captured this scene
in an extremely dark church in
RAW mode. Exposure was made
with an Olympus E-500 at 1/4 sec
at f/4.0 at ISO 1600. Image
was processed in Adobe Camera
Raw software, and cropped in
Adobe Photoshop. © 2007 Mary
Farace.