I can most always identify images taken in Jpeg mode "relying on getting it right in the camera" without any correction afterwards- blown out highlights, too much contrast, dark shadows, harsh colors, dull colors, poor exposure, incorrect white balance for starters. If the image is taken at the perfect time, in the best lighting conditions with the wisest settings then a Jpeg works. But unfortunately most photographic opportunities don't happen in aforementioned conditions and often don't look as we had imagined the scene straight from the camera. Under less than perfect conditions it's much easier to manage a Raw format than Jpeg.

No. There are plenty of folks who haven't a clue about raw files, and others who just don't want the hassle or time or equipment involved.

There is nothing wrong with either workflow. Use the right tool for your job.

Many professionals have perfectly good reasons to record JPEGs. Other professionals have perfectly good reasons to record raw files. So why should enthusiasts and hobbyists and amateurs be any different?

The question is, can you get the results you want, or at least results that accomplish your image-making goals?

It has been said (half jokingly) by many wise, old professionals that, "Raw is for rookies, JPEGs are for professionals." At first blush, that statement causes many less informed people to issue a battle cry of, "You're a moron! You don't know what you are talking about!"

What it means is, raw files have a lot of latitude that can be very forgiving of minor errors in exposure, white balance, and other parameters you might not set right on the camera if you don't know every menu setting and what it is for, or if the photographic situation cannot be tamed.

Professionals generally DO know what they are doing with JPEGs. We know how to expose within 1/6 of a stop, nail the white balance under most types of lighting, and produce files that display nicely on screen or print well on paper. In short, we know our way around the equipment, and use a lot of finesse when working behind the camera. But we know the limits of our equipment and processes, too!

I use both workflows. When I need ultimate quality or flexibility for creative results, or the light is changing rapidly and uncontrollably, I work from raw files.

When I need an image immediately, or when the budget is low, or the downstream workflow will not accommodate raw files and the time to process them, or the light may be controlled and consistent, or there's a "SOOC JPEG ONLY" policy involved, I am likely to record JPEGs at the camera.

There is great freedom and utility in knowing your camera's pre-processing controls as well as you know your post-processing software controls!