4 .\" Copyright (c) 2007 by David Coffin
6 .\" You may distribute without restriction.
9 .\" dcoffin a cybercom o net
10 .\" http://www.cybercom.net/~dcoffin
12 .TH dcraw 1 "June 8, 2007"
15 dcraw - command-line decoder for raw digital photos
18 [\fIOPTION\fR]... [\fIFILE\fR]...
21 decodes raw photos, displays metadata, and extracts thumbnails.
25 Print verbose messages, not just warnings and errors.
28 Write decoded images or thumbnails to standard output.
31 Extract the camera-generated thumbnail, not the raw image.
32 You'll get either a JPEG or a PPM file, depending on the camera.
35 Change the access and modification times of an AVI, JPEG or raw
36 file to when the photo was taken, assuming that the camera clock
37 was set to Universal Time.
40 Identify files but don't decode them.
43 can decode the last file, 1 if it can't.
49 cannot decode JPEG files!!
52 Show the raw data as a grayscale image with no interpolation.
53 Good for photographing black-and-white documents.
58 but totally raw (no color scaling).
61 Output a half-size color image. Twice as fast as
65 Use high-speed, low-quality bilinear interpolation.
68 Use Variable Number of Gradients (VNG) interpolation.
71 Use Patterned Pixel Grouping (PPG) interpolation.
74 Use Adaptive Homogeneity-Directed (AHD) interpolation.
77 Interpolate RGB as four colors. Use this if the output shows
78 false 2x2 meshes with VNG or mazes with AHD.
81 Use wavelets to erase noise while preserving real detail.
82 The best threshold should be somewhere between 100 and 1000.
87 writes 8-bit PGM/PPM/PAM with a BT.709 gamma curve and a
88 99th-percentile white point. If the result is too light or
91 lets you adjust it. Default is 1.0.
94 Write 16-bit linear pseudo-PGM/PPM/PAM with no gamma curve,
95 no white point, and no
100 Write TIFF output (with metadata) instead of PGM/PPM/PAM.
103 Set the black point. Default depends on the camera.
106 Subtract a dark frame from the raw data. To generate a
107 dark frame, shoot a raw photo with no light and do
108 .BR dcraw\ -D\ -4\ -j\ -t\ 0 .
111 Use the white balance specified by the camera.
112 If this is not found, print a warning and use another method.
115 Calculate the white balance by averaging the entire image.
117 .B -A left top width height
118 Calculate the white balance by averaging a rectangular area.
121 and select an area of neutral grey color.
123 .B -r mul0 mul1 mul2 mul3
124 Specify your own raw white balance.
125 These multipliers can be cut and pasted from the output of
128 no white balance option
129 Use a fixed white balance based on a color chart illuminated
130 with a standard D65 lamp.
133 If the raw metadata contains a color matrix, don't use it.
134 This option only affects Olympus, Leaf, and Phase One cameras.
136 .B -C red_mag blue_mag
137 Enlarge the raw red and blue layers by the given factors,
138 typically 0.999 to 1.001, to correct chromatic aberration.
141 Clip all highlights to solid white (default).
144 Leave highlights unclipped in various shades of pink.
147 Blend clipped and unclipped values together for a gradual fade to white.
150 Reconstruct highlights. Low numbers favor whites; high numbers
153 as a compromise. If that's not good enough, do
155 cut out the non-white highlights, and paste them into an image
164 Select the output colorspace when the
169 \ \ Raw color (unique to each camera)
172 \ \ sRGB D65 (default)
175 \ \ Adobe RGB (1998) D65
178 \ \ Wide Gamut RGB D65
181 \ \ Kodak ProPhoto RGB D65
186 .BR -p\ camera.icm \ [\ -o\ output.icm \ ]
187 Use ICC profiles to define the camera's raw colorspace and the
188 desired output colorspace (sRGB by default).
191 Use the ICC profile embedded in the raw photo.
193 .B -t [0-7,90,180,270]
194 Flip the output image. By default,
196 applies the flip specified by the camera.
198 disables all flipping.
201 Select which raw image to decode if the file contains more than one.
202 For example, Fuji\ Super\ CCD\ SR cameras generate a second image
203 underexposed four stops to show detail in the highlights.
206 For Fuji\ Super\ CCD cameras, show the image tilted 45 degrees.
207 For cameras with non-square pixels, do not stretch the image to
208 its correct aspect ratio. In any case, this option guarantees
209 that each output pixel corresponds to one raw pixel.
212 If they don't apply to your camera,
216 are silently ignored.
219 \:./.badpixels, ../.badpixels, ../../.badpixels, ...
220 List of your camera's dead pixels, so that
222 can interpolate around them. Each line specifies the column,
223 row, and UNIX time of death for one pixel. For example:
226 962 91 1028350000 # died between August 1 and 4, 2002
227 1285 1067 0 # don't know when this pixel died
230 These coordinates are before any cropping or rotation, so use
232 to locate dead pixels.
244 Written by David Coffin, dcoffin a cybercom o net