jpeg2raw — Frequently Asked Questions

It develops camera RAW files (CR2, NEF, ARW, DNG and more) into JPG or TIFF, and converts JPEG into lossless TIFF and BMP — covering both directions between compressed and high-fidelity formats.

Not in the literal sense — a true RAW captures sensor data that a JPEG no longer contains. What you can do is convert JPEG into uncompressed, lossless formats like TIFF and BMP for professional workflows, which is what these tools provide.

Yes, every tool is free with no watermark and no account.

CR2, CR3, NEF, ARW, DNG, RW2, ORF, RAF, PEF and SRW are all supported — covering Canon, Nikon, Sony, Adobe, Panasonic, Olympus, Fujifilm, Pentax and Samsung cameras.

Close. We apply the camera's recorded white balance and standard processing for a faithful, neutral result. In-camera JPGs may differ slightly because each maker adds its own colour and sharpening style.

RAW stores the full, uncompressed sensor data — often 20–50 MB per shot — which is what makes it so editable. Larger files simply take longer to upload and process.

Yes — free, no watermark, no signup. Files are processed in an isolated workspace and deleted shortly after download.

Yes. The converter develops the RAW into a high-bit-depth TIFF, preserving the sensor's 12-14 bit tonal range as 16-bit data so you keep editing headroom that an 8-bit JPG cannot hold.

RAW packs one undemosaiced value per photosite, while a TIFF stores full colour for every pixel, often at 16 bits per channel. Reconstructing all three channels uncompressed can easily double or triple the file size.

Yes. TIFF is lossless, so re-saving after edits introduces no compression artefacts, unlike JPG, which degrades a little every time it is saved. That is exactly why it is the standard retouching hand-off.

Choose TIFF when the file is headed for editing, retouching, or print, where tonal latitude matters. Choose JPG for sharing, uploading, or proofs, where a small, ready-to-view file is more useful.

No. The detail a JPG discarded during lossy compression cannot be recovered, and any existing artefacts remain. TIFF simply stops further loss and gives you a lossless file that print and archive workflows accept.

No. A JPG is only 8-bit, so the TIFF stays 8-bit per channel. True 16-bit precision requires developing from camera RAW; converting an existing JPG cannot add bit depth that was never recorded.

TIFF is lossless, decodes deterministically, and preserves embedded ICC colour profiles, so prepress RIPs reproduce colour and detail predictably on press without the compression variability that JPG can introduce.

Yes. The converter keeps the image in full RGB and retains the embedded ICC profile where present, so colours are reproduced accurately in colour-managed editing and printing applications.

No. BMP is lossless, but it can only store the pixels the JPG already contains. Detail removed by the original lossy compression cannot return, and any existing artefacts are preserved exactly.

BMP stores every pixel uncompressed at about three bytes each, with no compression at all. A JPG of the same image is a fraction of the size because it uses lossy compression to discard redundant data.

The converter typically writes a 24-bit BMP, with eight bits each for red, green, and blue. That matches the 8-bit colour of the source JPG and is the format most legacy and embedded readers expect.

Use BMP only when a legacy or embedded system demands its dead-simple structure. For editing, archiving, or print, TIFF is more capable, supports lossless compression, and preserves ICC colour profiles.