ACR Adjustments at Import

I have a very basic question: how do I "set" ACR to "neutral" so that when I open LR2 and import files, there are no adjustments based on my last set-up. I'd like to start with no adjustments as ACR does in Bridge. For example: whatever sharpness is applied to my last photo that I processed Iin LR2, the next photo is already subjected to that level of sharpness. I prefer that not to happen. Any help to what I know is a basic question is appreciated.
Wm

Thanks John. I never choose develop settings - so I guess I've been
importing with no adjustments - regardless of what the settings
indicate(from the prior photo) in the Development panel , right?

Similar Messages

Bypass ACR dialog when importing raw files?

I am batch importing raw image sequences with a script i wrote, but for each sequence it pops up the ACR dialog to allow for raw adjustments before import. I want to just dismiss that dialog automatically with the script, is that possible?
Thanks!

Negatory. Very frustrating.
var test_ACR_bypass = (function(){
var f = new File("/path/to/some/raw/myraw_seq_00000.cr2");
var opt = new ImportOptions(f);
//these don't seem to make a difference.
opt.sequence = true;
opt.forceAlphabetical = true;
app.beginSuppressDialogs();
var imported_item = app.project.importFile(opt);
//neither does this argument
app.endSuppressDialogs(false);
I guess this has something to do with the fact that the ACR dialogue box is a function of the filetype plugin and not the scripting engine? Frustrating regardless, I have to import a *lot* of camera raws and we don't do our grading upon AE import...

ACR adjustments not showing up in Bridge

I've done some searching but have not found an answer to my ? So hope it isn't a repeat. I'm on a iMac with 16 gig of RAM and updated graphics card running the latest version of Lion.
After downloading the beta of CS6/ACR7 I have noticed that if I'm working on a photo in ACR and click "done" (not save image), the ACR adjustments don't always show up in Bridge. Sometimes it might show the adjustments and other times it doesn't. Doesn't seem to matter if the raw file is NEF or DNG. It is very hit and miss.
I did an update on CS5 before I downloaded the beta of CS6 and I've noticed that it does the same thing. Went to my lap top with none of the latest updates and all adjustments in ACR show up in Bridge. I compared ACR and Bridge Preferences and all was the same between the machines. (Lap top is a MacBook Pro 15").
Anyone have any idea what needs to be changed so all adjustments in ACR show up in Bridge? If the adjustments in ACR are all I need to do, it is frustrating to have to do a "save image" and make a duplicate just to get the adjustments to show up. I can use LR and have it work this way, but I prefer ACR.
Thanks,
Sue

Thank you Ann!!!!! That was the problem. I sure appreciate your help.
Sue

ACR adjustments reflected in Bridge 5.1 thumbnails - how?

In Bridge 5.1, how do I get the thumbnails displayed from CR2 files to reflect adjustments made to them in ACR? I seem to recall this happened in earlier versions, but I have not figured out how to make it happen in 5.1. Any suggestions?

Thanks for the reply. (I have not learned how to reply in the discussion page).
The comment that Ouderman made made sense but did not workl
Your comment also makes sense but it took me a long time, following your hint, to find those settings -- they are int in "Preferences". But once found they worked. Thank you very much.
Doug Goodell (Doug05G)

Color Adjustments while importing from Epson P5000

Hello, I recently upgraded to Aperture 1.5.2. Since doing so, when I import my images from my Epson P5000 portable external hard drive I am having a problem. As soon as all the images are imported in Aperture, one by one each image undergoes automatic adjustments. They become over saturated, develope a color cast (or perhaps a temperature adjustment). This is not a setting in my camera nor do the images look this way on the display on my Epson. Can anyone explain how to turn these adjustments off? Thanks, Phil

WALTER-MILANO-ITALY wrote:
May I ask you your help ?
I use RAW+Jpg in different cameras and I import Both Raw as Master, leaving the originals on an external HD, that is referenced system.
I am missing something ?? For instance if I take a BW with my EP2 I get a RAW colored and a BW jpeg into Aperture only if I import separate masters.
If you use your normal 'Both RAW as Master' option, can you Control+Click (right-click)and use the set JPEG to Master option to switch to the Black & White version displayed?
Probably I am only wasting time shoting BW in camera because you can do it later from RAW with aperture...
If the JPEG captured what you wanted to see and will work for your purpose, then it is not a waste of time - IMHO.
I shoot RAW+JPEG also and import 'Both JPEG as Master' because most of the time the JPEG works for what I want.
Note - RWBoyer has a great site with a lot of information about Aperture here:
http://photo.rwboyer.com/

Inexplicable Auto-Adjustments on Import

I've looked through my settings and Google, and it appears that my LR installation is set up as it should be, however, when I import an image, it applies some kind of auto-mix to the images. The images will show up for a split second as they should while loading, then when the standard size preview has been generated, it will shift to some kind of default adjustments.
I don't have any preferences that I'm aware of set to do this, so I'm not sure what's going on. Here's an example. This is how it's supposed to look:
Then when it's done loading, this is how it looks:
I know, we don't all have the same calibration, but you should be able to see some differences. The contrast is higher on the second image, the blue is a little less teal, and there even appears to be some added vignetting.
Sometimes it's not a problem, since almost everything gets some minor adjustments anyway. But in some situations, it will affect things dramatically, for example, sometimes a properly exposed image will all of a sudden become very under-exposed, presumably because it's detecting that's over-exposed, when it's not.
Can anyone give me a clear answer on why this is happening, and ideally how to fix it?

http://forums.adobe.com/thread/358016?tstart=0

Adjustments on import ACR4.4 question

I should mention up front that I'm still using LR1.4, so if the answer to this is "wait for the update or revert to 1.3", that's OK.
I don't know if it's something I configured inadvertently or if this is a bug in LR, hopefully the former, but when I import raw from my NIkon D300, the initial preview on the screen as it comes in is a close match to the preview in the camera (i.e. looks great), but then LR applies an update that turns the image quite dark and frankly, ugly. LR indicates in Develop that it is using ACR4.4. Is there anything I can check to correct this change effect on import?

There has been very little change since 1.3, so if you're seeing a huge change, you must have something else going on (the ACR 4.4 profiles will only affect color at the ends of the temperature/hue sliders).
Perhaps you are inadvertently applying a develop preset on import, or maybe you've accidentally messed up your Camera RAW defaults. Both would show up as Develop sliders somewhere other than the obvious defaults of zero except for Blacks (5), Brightness (25), Contrast (50), Sharpening Radius (1), Detail (25), and the medium contrast tone curve, IIRC.

Lightroom adjustments not importing into photoshop

I have edited dng images in lightroom 3.2. I have selected lens profiles to correct vignetting. When I click open in Photoshop CS4, all the edits except the lens profile corrections export to Photoshop. The lens vignetting returns. Is there a setting somewhere that I can correct so that all editing in lightroom is reflected in Photoshop CS4. Has anyone else experienced this?
In addiion, is it possible to have a trial version of Photoshop CS5 and Photoshop CS5 installed at the same time.
Jim

Hi Jeff,
Thanks for the link. Before I got the link, I downloaded a trial version of Photoshop CS5. This fixed the problem. However, as a CS4 bug I also tested this with CS4 as a second edit-in preference in Lightroom. This also worked, however I am not sure that this was a valid test. Once I downloaded CS5, it became the default editor and there appears to be no way to remove it as the default editor without uninstalling.
Please note that when editing in Photoshop that the resulting psd (I have not tested other formats) imported back into Lightroom is about a half-stop brighter. I noticed this before but never reported it as a bug. It would be nice to fix this before 3.3 is released.
Is there any way that Lightroom will remain in the Edit module when doing a Compare. This drives me crazy. Many times you want to edit images by having them side by side with previous shoots or images that someone has sent you. Now it is constant bouncing back and forth.
Thanks for the fast feedback.
Jim
By the way, what are you doing working on a Saturday

Difference in TIFF and RAW import with ACR (how to fix)?

I'm experimenting with a workflow, so whilst this may seem like an odd thing to want to make work, I have a geniune reason for doing what's described below:
I have Canon CR2 RAW files from a 7D, Photoshop CS6 13.01 64bit, with ACR 7.1.0.354, running on Windows 7 64bit.
1. I import a CR2 image via ACR, with no changes to any sliders; opening it as Adobe RGB (1998); 16bit
2. I then save the image as a TIFF file, leaving "ICC Profile: Abode RGB (1998)" selected in the Color section of the file save dialog
3. If I then close all files, and reopen the CR2 and TIFF image, they (as expected) appear to be identical
4. After closing all files again, I then open the CR2 and make an exposure adjustment (e.g. -1.00)
5. Using Bridge, I select the TIFF file, right click and select Open in Camera Raw. I make the same exposure adjustment as for the CR2
6. Now, the adjusted CR2 and adjusted TIFF are different. A colour shift is noticable, and for a severe exposure change (i.e. +4.00) the shadow detail in the CR2 is a lot lighter
Here are two cropped areas from the files (with a 4 stop push), showing some branch/leaf and grass detail respectively. The TIFF has a greener colour cast for the grass, but much darker shadows:
TIFF
RAW
I appreciate that the CR2 is still a RAW file, and as such has the original Bayer pattern data, but is there any way I can make ACR adjustments to a TIFF (taken from a CR2) to behave in the same way as the original CR2?

ssprengel, Jeff, JJMack - thanks for the constructive replies
station_two - after your use of mildly aggressive language ("What seems to escape your grasp") in your first post, I had money that your subsequent response(s) would be on the lines of "I'm too busy to explain it to people like you". Thankyou for confirming my expectations (sometimes I wonder if some people engage in forum discussions for the sole purpose of trying to get themselves [and possibly others] riled)
So... back to trying to find a construcive solution: If the algorthirms for the adjustments in ACR do operate directly on the Bayer data (before demosiacing to RGB per pixel) then operating on the TIFF (or any other demosaiced RGB data) will indeed be a non-starter. Without (probably unlikely) input from an Adobe developer however, we can't know for sure.
> So RAW numbers after debayering to RGB are linear with numbers of photons within a particular color (R, G or B), while TIF numbers are assumed to be linear with human-vision sensitivity
Understood (I'm familiar with gamma, camera sensor behaviour, exposing to the right etc). Ultimately though, it should be possible to produce an RGB file that is also linear (i.e. not adjusted for human vision) to then bring back into ACR. However, if that's simply not possible with ACR, then that's also a non-starter (and wouldn't help anyway if the adjustments operate on the Bayer data directly).
I did look briefly into opening the RAW as a smart object, but sadly I didn't think that'd help. The goal I'm trying to achieve is an experimental idea to blend parts of images together from multiple exposures; but to achieve a single RAW file with that data as if it came from the camera (thus it could be brought into ACR to get the benefit of - from my point of view - the useful and intuitive adjustment sliders). Clearly that would require reverse engineering the particular RAW format for the camera being used (and each and every camera you'd want to support) - thus, it's not really practical.
I'd hoped to be able to convert (without edits) the RAW images into TIFF (or some other lossless RGB container that I can read programmatically), do the blending to produce a single TIFF, and then bring that back into ACR.
Whilst it's more convoluted, I suppose it might be possible to generate the unedited TIFF files purely for the purposes for getting data about the images, then using that to create a set of masks. Then, as Jeff suggests, perform adjustments to the RAW files in ACR, and use the masks to blend the imported (and now corrected) RAWs into one image. Not ideal, but perhaps worthy of more experimentation.

Show stopper: can't import tiff files with camera raw adjustments

For RAW NEF files (coming from a Nikon D80), Aperture doesn't pick up adjustments I've made in ACR (Adobe Camera Raw) when I import them, even though the .xmp "sidecar" files are sitting there in the folder next to the them. Do I have to do something to get Aperture to pay attention to the .xmp files?
Similarly, Aperture doesn't read ACR adjustments I've made to TIFF files. I've read on the web that adjustments made to TIFF files cannot be stored in "sidecar" xmp files. That's clearly true since I don't see the .xmp files sitting next to my tiff files in my image directory -- but my ACR adjustments are stored when I reload the TIFF files in ACR.
In any case, Aperture doesn't seem to recognize either RAW files with sidecar .xmp info, or TIFF files that have ACR adjustments baked in.
This is a show stopper for me and I'd love to use Aperture for its 'Faces' functionality. Does anyone know a fix for this issue?
Thanks!
Raphe

Thanks for the reply, Kirby
the kind of conversion you are talking about is likely a pipe dream.
I gave it a quick look myself just now. the .lrcat file that lightroom has isn't binary & looks just like a huge list of adjustment data for entries in the database. For example, the curves on one of my images looks like this:
ToneCurve = { 0,
0,
37,
38,
93,
148,
167,
223,
255,
255 },
So it wouldn't be difficult to write a .lrcat > .xmp exporter (basically going back from one Lightroom database to many .xmp files) or a batch .xmp > .lrcat exporter (going from many .xmp files to one Lightroom database).
Looking at the contents of Aperture's .aplibrary package, there's an xml record of all files entered in the database, and I found what looks like image edits in the 'versions' folder -- but unfortunately the edits are stored in a binary format.
Oh well, I guess this is why Aperture is a bit faster than Lightroom -- but will make it very difficult to write a converter to get edits into Aperture. & unless Apple adds edit info to their .xmp sidecar exporter (Export Masters) & includes a batch mode.. we wont be able to get info out of Aperture. So, for the moment, this apparent lack of an open format keeps Aperture from being a professional tool imho, compare to Lightroom.
..but for me there's no reason to switch from ACR to Lightroom because there's no facial recognition, and the curve editing utility is better in ACR.
Thanks for the comments, David.
I'll be sticking with ACR/Bridge for now -- I'd rather not split my library -- & hope that Lightroom adds some facial recognition functionality
Besides this, Aperture seems like a really nice product.
Cheers,
Raphe

Importing DNG - no adjustments imported

hi,
i am trying to import a large project which i worked on (4000+) images.
i worked on this project before installing aperture. in my previous workflow i was using ACR to do the raw editing/first conversion, then convert the files in DNG and import them in IVMP. so the DNG preview would be matching the file adjustment.
i just imported the project in aperture, and no adjustment come through. no WB, no exposure, nothing.
what can i do? doesn't aperture support DNG? am i doing something wrong? i cannot rework the 20000+ images i shot since using DNG....
thanks,
@lberto
MacPro Mac OS X (10.4.8)

Here's my understanding...
When you adjust a RAW image with ACR (a RAW converter), the settings are saved in an XMP sidecar because ACR doesn't like to modify a RAW file. But when you adjust and save to a DNG file the settings that would otherwise be saved in the XMP sidecar are saved in the DNG. Adobe can do this because Adobe created both ACR and DNG. (Also, Adobe wants you to use Photoshop.) The settings saved in the DNG are just instructions that tell ACR and only ACR (at present) how to process the RAW image when it is brought into Photoshop.
ACR saves an updated preview thumbnail in the DNG and that is what you see in IVMP and PhotoMechanic. IVMP and PhotoMechanic are not RAW converters. In other words, they can't take the ACR instructions inside the DNG and change the RAW to a JPEG, TIFF, or PSD. They just let you see the preview thumbnail. They don't care about the original RAW data because they are not RAW converters, so they don't need to show you the original. They show you the adjusted preview thumbnail so you will use their program in conjunction with your Photoshop workflow.
Capture One is another RAW converter. It cannot take ACR conversion instructions and apply them in Capture One because CO uses it's own conversion algorithms. The same with the proprietary camera manufacturer's RAW conversion software.
Aperture is also a RAW conversion software that uses its own conversion algorithms. It is not Photoshop, so it cannot use Photoshop's ACR conversion data. When you load an adjusted DNG into Aperture it initially sees the adjusted preview. But then Aperture builds a thumbnail with the original RAW data (as it should) because Aperture adjusts the RAW master file.
White balance, exposure, and other adjustments settings are not imported into Aperture. I would not expect them to be. Those are ACR (Photoshop) adjustment instructions, not Aperture adjustment instructions.
Even Lightroom, another Adobe program that offers RAW conversion, does not currently read the ACR adjustments from a DNG. Load adjusted DNGs into the current beta of Lightroom and it does the same thing as Aperture. It looks past the ACR generated preview in the DNG and creates a preview from the RAW data. However, being an Adobe product, you might expect Lightroom to eventually be able to read the ACR adjustment data in a future version. Lightroom may be the route you will eventually have to take to perserve your many adjustments unless you are willing to convert your DNGs to TIFFs or PSDs and import those into Aperture.
I believe the DNG specification was intended to create a standard in the RAW file format (unadjusted). It is not a standard for transferring image adjustments between diverse RAW converters.
Again, this is just how I understand it...
-Karen

Is the order of adjustments important?

In a tutorial video on Aperture 1.5 on sharpening (http://www.apple.com/support/aperture/tutorials/edge_sharpen/) they tell me to make any other adjustments I want to make before sharpening. I have never read nor heard of this importance in Aperture before, although in extreme cases I did suspect it can make a difference in which order the adjustments are done.
Is the order of adjustments indeed important in Aperture 2.1.4?
If so:
- isn't it strange that at a later time you cannot see the order of adjustments made earlier?
- are there general guidelines what order is best in most cases?
- can I make an adjustment X twice (before adjustment Y and after adjustment Y). This could, theoretically, make a difference with adjustment X once and adjustment Y once.
This may be be rather silly and academic questions. In daily use I think it does not matter.
Koen, from the Netherlands

I think the order of adjustments isn't important +per se+, but it may change some stuff.
For example, if you boost your contrast and then adjust colours, it might not been as accurate as with "out of the box" colours. Again, it's my guess.
Non-destructive raw editing is made to prevent this kind of issue, so maybe my example is a bad one and there is no problem at all with the order of adjustments.

How to import RAW + Adobe Camera Raw settings to iPhoto?

Hi folks,
I'm trying to import into iPhoto RAW files (Canon .CR2) that I have adjusted in Adobe Camera Raw (ACR).
The problem is that, iPhoto is not picking up the ACR adjustments that are contained in the side-car .xmp file; it's just showing the RAW file 'as-shot'.
For example, if the RAW file's white balance is off, and I correct it in ACR, then, once imported, iPhoto shows the image with the 'incorrect' white balance, as if I hadn't corrected it at all.
Can anyone confirm if this is the correct behaviour of iPhoto?
Is there any way to have iPhoto take the ACR adjustments into account?
I'd be grateful for your help.
Regards,
Ken.
P.S. I think I have iPhoto '09—it's the immediate predecessor of the very latest version that was released fairly recently.

This is the correct behaviour. iPhoto will understand the RAW file from the camera, but it will not handle ACR adjustments. If you want to deal with the pic in iPhoto, you'll have to render it to an image format first. You can maintain quality by using a lossless format (.tif, lossless jpg).
That may not be ideal. If so, and you need image editing on the ACR file, Lightroom is probably your best bet

Importing XMP sidecar files

I used Lightroom to catalogue my pictures as Aperture would not run on my G4. I have now upgraded my computer and have purchased Aperture. I exported my pictures out of Lightroom with XMP sidecar files. On importing my pictures into Aperture I do not have the ratings and keywords assigned in Lightroom. Is there any way I can import the side car files or do I have to rate my pictures again and add the keywords manually?

The XMP import capability is limited to metadata/IPTC type info - NOT ACR adjustments and such - those values are specific and make no sense to Aperture. This is true in reverse as well - ACR/Bridge/LR/NX2, etc, etc may pickup IPTC type metadata from XMP or embedded values but NO software will translate adjustment values from another piece of software that are stored ad metadata.
RB

Importing XMP sidecar files into Aperture 3

I don't seem to see the effects of importing the XMP files with a referenced or managed RAW file. I tested this by opening a RAW file from Bridge into Camera RAW. I then adjusted the file, which created the XMP file. When I import the file into AP3, I see the master RAW image, but none of the adjustments. (I can tell this since I did a dramatic halftone to the original RAW). I expected to see the results of the halftone in my AP3 file, but did not.
Am I missing something here?

The XMP import capability is limited to metadata/IPTC type info - NOT ACR adjustments and such - those values are specific and make no sense to Aperture. This is true in reverse as well - ACR/Bridge/LR/NX2, etc, etc may pickup IPTC type metadata from XMP or embedded values but NO software will translate adjustment values from another piece of software that are stored ad metadata.
RB

ACR Adjustments at Import

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