One of the most annoying aspects of Apple Aperture is that there is no API for RAW plugins. This means that you’re stuck with Aperture’s RAW rendering—and Apple has been slow to update support for the latest cameras. For instance, the Olympus E-P1/E-P2/E-PL1 series has been out since August, selling like hotcakes, but there is still no RAW support for these models, even though the E-30, which is supported, uses the same basic RAW file format.
Well finally my workaround seems to work for my satisfaction. Whee!
For those too lazy to read forward here is the step-by-step:
- Select images in Aperture and choose “Edit with…” Catapult.
- Read and save images in your favorite converter (for me and the E-P1 it is Adobe Camera RAW).
- Reimport images within Catapult and close the box.
The lack of RAW support is especially annoying for E-Px series, because the main purchasers of this camera are enthusiasts and pros who care about that camera, and the traditional workaround of roundtripping Adobe Camera RAW converted DNGs won’t work because the fine print of Apple’s DNG support shows that it only works with unconverted DNGs—and the new lensdata support of Adobe’s DNG specification generates converted DNGs. While, Adobe may disagree with me (and there is a good reason why they should), this is just the sort of moving-target that causes me to argue against converting to Adobe DNGs.
In the past I tried this using Olympus Master and generated TIFFs but the EXIF information is removed and thus the date, in particular, disappears. Argh!
Catapulting your image
First you do mumble to put your images into stacks and generate selects.
Then you select all the selects that can’t be processed within Aperture and Edit with…Catapult.
Now, you open in your favorite RAW converter. Since Olympus Master doesn’t preserve EXIF and it’s sort of clumsy anyway, I prefer Adobe Camera RAW built into Adobe Photoshop CS4. For Olympus E-P1 images it has the added benefit of having distortion data for Panasonic GF-1 lenses so you can cross-platform your camera and still get benefits. You’ll note that post-processing metadata like B&W is lost.
That’s pretty easy to fix though:
Be sure to save them as PSDs because that’s a format that Aperture can recognize and it’s more compressed than TIFF (and has metadata). Also, might as well keep it in 16-bit and set your color space to Adobe RGB.
Reimport the image:
After reimportation, you will probably need to remerge the stacks and then can follow your regular Aperture routine and all is good. You may note that some Aperture metadata may be lost, so be sure to do things like geolocation and copyrighting after this part of the workflow.