Bokeh artifacts from ACR 4.3.1

I shot some out-of-focus lego bricks, and I am getting unpleasant artifacts in the bokeh (the out-of-focus areas) where colors blend. Instead of being smooth, the bokeh looks like somebody splotched color on the image. This is using ACR 4.3.1 in LightRoom 1.3, processing Olympus E-3 files.
ACR bokeh: http://i270.photobucket.com/albums/jj115/lucaPCP/samples/Bokeh-LR.jpg
Olympus Studio bokeh: http://i270.photobucket.com/albums/jj115/lucaPCP/samples/Bokeh-Oly.jpg
Now granted, most color transitions in reality are less sharp, and so this problem may not be very prevalent, but I wanted to raise the issue nevertheless -- have others noticed the same? Is it common for all cameras? (I believe it must depend on the processing, not the optics!).
Luca

What are your sharpening and noise reduction settings in ACR?

Similar Messages

Open as "Smart Object" from ACR to PS questions.

I have 2 questions associated with opening from ACR as a Smart Object in Photoshop. I'm using CS4.
1. Is there a way to retrieve the original filename (complete with path) using a script or a setting somewhere to do this? I'm currently using Bridge Talk to ask Bridge what the active folder is then adding that to the document's .name property and taking off the " as Smart Object-1" part. Then I add a .psd extension to it and then I have to save it to retain that name unless there's an answer to #2 below.
2. Is there a way to change the Document's name as described above from "Filename as Smart Object-1" to "Filename.psd" without actually saving it?
It seems to me there would be a simple way that I might be overlooking here.
Thanks
Mike

Sorry, I guess I need to explain better.
I wrote a script to do this, but here is this portion of the workflow:
1. Open CR2 file in ACR and make adjustments.
2. Open as Smart Object in PS.
3. Script Events Manager activates this script on Document Open, checks to see if it was opened as a Smart Object. We'll assume it did.
4. The script asks me if I want to make another layer. I pick yes. The script copies the SO layer, sets an inverted mask, and opens to edit settings in ACR again.
5. I adjust the settings for that layer in ACR and click OK.
The script will keep looping between 4 and 5 as long as I pick YES.
This gives me more local control of areas. If I want to bring out eyes a bit, I can up contrast, saturation, sharpness, brightness, exposure, or whatever looks best for the eyes in ACR, then unmask the eyes as much as I want on that layer in Photoshop. There is more data to pull from in the RAW file vs trying to do the same thing within Photoshop.
Opening as a regular image file then converting to a SO doesn't give me the same control. I would have to reopen the file separately, make the adjustments in ACR, open to PS then copy that document and paste as a new layer in the original.
Duplicating the document might work also, but I can also just save as .psd at that point since I'd have to know the path name by then anyway. I'll give that a try, though, and see if it might work better. The only catch with the save part is it slows me down waiting for it to write the file and if I have 5+ SO layers, it takes awhile. Once I unmask where I want, I flatten to a rasterized layer and continue.
Thanks

Why can't I open files from ACR to CS5?

I have been using CS5/Bridge/ACR for a year now and all of the sudden, I cannot get the RAW images from ACR into CS5. I always open my RAW files from Bridge, make my adjustments in ACR, then select all and open images into CS5. This has always worked just fine, but recently only a random number of images will open, if any at all!
For example, If I select 10 images to open in CS5, it may be 4 that open, or it could be 8, or it could be 0. I haven't done anything new to my computer. I have uninstalled photoshop and reinstalled it twice and that hasn't helped.
I am so frustrated. I thought I purchased a quality product (which I have loved until now since I can't even get my files in to use the program!) and am so dissapointed that I can't use it anymore.
Hopefully someone can help me. I really want to use photoshop again!

You could try to reset Bridge preferences. Hold down the Ctrl key and start Bridge. You should get a reset window with 3 options.

Artifacts from previous tab sticking as background of UL on some pages.

I am a website frontend developer. I have a UL on a development site that was fine in all browser testing and FF 7.0.0. When my FF updated to 7.0.1 I noticed a strange color behind the UL menu. The color was actually artifacts from the tab that was open before switching to that site's tab. I can recreate this on multiple machines in the office. The area that is being affected has a black image background. The transparent image on the background of the LI is still transparent but is now laying over the artifact area.
Here is an example screenshot:
http://juggopop.com/wp-content/uploads/2011/10/screenshot-ff-bug.jpg

This Bug occurs with every black (#000) only image on Firefox 7.0.1/ Mac.
Black images are not displayed and these artifacts appear.
See Bug: https://bugzilla.mozilla.org/show_bug.cgi?id=691699

Migrating planning artifacts from 11.1.3.3 to 11.1.2.2.

Hi,
I am migration planning application from 11.1.3.3 to 11.1.2.2 . I am trying to use LCM to migrate the artifact using shared service but while importing all the components are grayed out.
Can you please let me know how to migrate artifacts from 11.1.3.3 to 11.1.2.2.
Thanks.

LCM migrations are not actually supported between different versions, though saying that is it usually possible to get most artifacts migrated, you may need to edit some of the xmls.
If you perform an export on the target you get an idea of the format that is required for the import to work.
Cheers
John
http://john-goodwin.blogspot.com/

Appearance of images changes when moving from ACR to PSE11 Editor .. why?

I run Windows 8.1 x64 bit on my new PC and use PSE11 which opens raw files automatically into ACR. Once I've finished editing an image in ACR I then click on 'Open Image' which transfers the part edited file to the PSE11 Editor. Once there I perform a few additional tweaks before cropping, sharpening and saving as a jpeg.
At about the same time as I installed PSE11 onto my new PC I became acutely aware of a change in the appearance of my images as they transferred from ACR to PSE11 Editor. Having performed the basic adjustments in ACR and things are to my liking, the image now opens in PSE11 Editor looking rather washed out by comparison .. less contrast, maybe a little more brightness and a certain degree of reduced colour saturation.
Obviously all images are seen on the same monitor, so any fingers pointing at calibration issues don't count in this instance! I just need to know if there is a fix that will return me to the situation I've always had before, where the part edited ACR image looks the same when it opens in the PSE11 Editor. I have been using PSE in various versions for a number of years and this is the first time that I've experienced this irritating problem.
Help, please!

CanonMan49 a écrit:
Thanks for your reply Michel ...
The colour setting in both Editor and Organiser is: 'Always Optimise Colours for Computer Screens'
I believe this option will select the sRGB colour space by default and that the option 'Always Optimise for Printing' will default the colour space setting to Adobe RGB. Is this so? I only print occasionally (most of my viewing is on the monitor or the TV) but it would be nice to know if the chosen colour space chosen produce this odd effect I'm experiencing (although I sincerely doubt that it's got anything to do with it).
This option will be used by the ACR conversion module to set the colour space of the file imported in the editor. So, you are right, the sRGB colour space is a good choice for you. What's good is that the raw file itself has NO colour space. If you have edited a raw file for sRGB, good. But you can set your editor to 'optimize for print', and you'll get an aRGB version for printing. Worth a try if you have a good printer (mine is an all-in-one with 6 inks and I can see the difference for some subjects).
My camera (EOS 5D MkIII) is always set to sRGB. Is this significant?
No for raw files. That's used only for the in-camera conversion to jpeg. It's a simple tag which is ignored in the ACR conversion process (see above).
The main issue though remains, namely the fact that part edited images look washed out in PSE Editor in spite of looking just fine in ACR a split second earlier, so I'm still looking for a remedy.
Such a difference is often noted when a file with aRGB colour space is seen in a software that believes it's sRGB. Nothing in your worklows seems to explain that.
Do you see a difference when you see the same edited picture in a non colour-managed software? I can't help you more for the moment.

Cannot open raw image as smart object from ACR 8.4

Hi
I just noticed that I am not able to open an image as a smart object from ACR 8.4. The tooltip says I can by holding down the shift key but doing so has no effect. I reset all my preferences to make sure but that hasn't fixed the problem.
Thanks
J

I thought it was the Alt (Opt) key that did that. I'll go check
No, you are right. It is Shift, and it is working OK for me with 8.4 Windows 7

Workflow from ACR or LR into PS?

I want to shoot some RAW photos that will be both printed and displayed on various devices, and will be using both ACR and LR to do basic processing before going into PS.
1. What is the best quality file to save my RAW file into before going to PS from either ACR or LR? A .PSD?
2. What should I do with the color space before going into PS? Do I save it as Adobe RGB?
Thank you.

I always process Raw to .PSD and have Photoshop's color space set to Adobe RGB (1998) as well as my DLSR set to Adobe RGB (1998).
Your accumulation of an image through the workflow should be as follows...
First: Your Philosophy.   Create the Largest and Cleanest and Densest File you can and think as if one day you will need the file/image for a huge 60 inch print.
In other words, build a large file for the future as opposed to a small file size for today use. Some day you will want to make a big print, if all you have is a small file you will wish you made it big to start with.   You can always make a smaller print from a large file, but not the other way around.
I use ACR to roll into Photoshop at 300 dpi 8 bit. As soon as the RAW file opens in Photoshop, I save it as .PSD
Work it up, with many Layers and Save the file as nnnn-Layered.psd (new name so you don't write over the first .PSD file
When done I flatten the file and Save it as nnnn-Flattened.PSD
Now the last saved file is Cropped and Resized for other uses as nnnn-Cropped.PSD
Now I will resize it for email sized .JPG and save   nnnn-small.JPG.
Now I have I have 6 generations of my prized image... CR2 original,   1st PSD from ACR,    PSD layered,    PSD flattened,   PSD cropped and finally   JPG small for email.
Everyone's workflow differs depending on there end usage of the image. But always have the best images ready for any changes in end usage.
I have a friend that never makes hi-res PSD files and tries to make a large print from a cheesy JPG. Good luck. JPGs have limitations.
Thank God for 3 TB Harddrives.
What can I say, I'm a Pixel Hoarder.

Export to .exr / .hdr / floating point format from ACR?

Hi!
Context is that I'm doing HDRI images for rendering so dynamic range is the most important aspect.
I searched hard but didn't found a way to export from ACR into a floating point format which is very very very annoying because if you export as 16bit tiff it will obviously clip whatever values you have in your raw file. I can load the raw / dng files directly into Photomatix / Oloneo but then I'm losing any kind of Camera Profile / Distortion profile embedded with them.
Oh and I don't want to use Photoshop to Merge the HDRI files because I want to have control over the deghosting and various other alignement related stuff. I'm really searching for a .dng / .raw to .exr conversion.
Any ideas?
KS

I would benefit from first class raw demosaicing, noise reduction, undistortion, optional color profiling, etc... before sending that to merging in whatever software that is not the specialty to do what ACR does perfectly
Getting linear data out would be the step after all the ones I described and I wouldn't change any exposure, recovery, black level, tone curve, etc ... related options so that the HDRI merge is predictable. That's where the problem resides.
Lets say you have a photo with a bright sky, you load it in ACR, with everything to zero. Your sky is white and burnt ( But you actually have data from the raw file because you have checked it by changing the exposure compensation to -5 ) If you export the image as is without the exposure compensation, the sky data is clipped once casted to integer.
If you export it with the exposure compensation, the HDRI merge will be very very bad because the software will have an image with the data where the exposure has been shifted but still exhibit the exif data from the original file.
Of course you can merge with the tiff without the compensation and rely on a faster exposure to fill the missing data, it works but when you hit your latest fast exposure and you see that you would be able to pump even more dynamic range from it but that ACR clipped the data it's very frustrating.
I now hope it's crystal clear and why I would like to get a linear exr output I can also upload a raw file somewhere for people having trouble understanding the issue.
In the best case scenario Adobe will provide a solution, but if it happens it will not be before a while, in the worst case there won't be any solutions at all. With that in mind I wrote a Python script that generates for me the tail exposures for my bracketing sequences and modify accordingly the exif data.
My workflow is the following for now:
- Dump raw images from camera.
- Apply neutral preset, noise reduction on all the raw files.
- Praise Adobe for ACR.
- Launch the Python script that:
     - Generates a subfolder where all the raw and xmp files are copied.
     - Images are renamed reordered by their exposure time.
     - The tail exposure is duplicated 3 times.
     - The xmp files are updated with exposure compensation ( -1, -3, -5 ). Now I get the dynamic range.
     - The raw files exif data is altered to reflect the exposure compensation.
- Load the new raw files from the subfolder and convert them to tif.
- Rant against Adobe
- Merge to HDRI with my proper dynamic range.
KS

Import Presets from ACR

Hello together
Is there a possibility to import existing presets from ACR into Lightroom? I tried to import, but ACR stores the presets in a different file format than lightroom. Is there a chance to import them?
thanks for your replies
- Daniel -

Hi Victoria
Good idea!! Thanks a lot!
- Daniel -

32bit output from ACR when processing HDR images

As said above, why does ACR not support 32bit output for HDR images that are processed in it?
I read this discussion too, but since the situation changed now, it would be nice to have 32 bit output from ACR.
Is there still anything that speaks against it?

The way in which I manage this is to batch-convert a series of progressive exposures in ACR 7.1;
Select all of those files in Bridge and use Tools/Photoshop/Merge to HDR Pro and
Save as 32-bit.tif (floating);
Then open that Tiff in ACR 7.1 to refine the editing (making full use of the Adjustment Brushes);
Finally, I open the file directly from ACR into Photoshop CS6 as a ProPhoto RGB 16-bit Smart Object and finish the image.
This works beautifully and produces very smooth and wide DR images without those horrendous HDR grunge haloes.
While you could do part of this in LR 4.1 if you wished, you do need Photoshop CS6 for some of the steps.

How do I create multiple crop outputs from ACR?

In CS5.5 my workflow involved selecting a number of RAW files and opening in ACR. I could make corrections as required, but also apply individual crops to each image. For instance, twenty might be set to 10"x8", another ten to 15"x12" and thirty to 8"x6". When I then clicked done. I could run image processor on the files and point to a hotfolder on the network which was watched by the RIP running the printer. The RIP could then pick up the files, composite them, and start the print queue. it was a hugely efficient system.
That now seems to have been given the kiss of death because the crop tool in ACR no longer offers any option other than a ratio. My understanding from these forums is that output size is now governed by the workflow options dialogue box. But the problem with that is that it applies the same output size to every image selected, not to mention the fact that instead of opening one dialogue box (namely the custom crop tool), I now need to open two.
I am at a loss to see how this is a more efficient system. Please give us back the facility to set custom crops with different output sizes, or failing that, can someone explain to me how I now do what I was doing without having to do twice as much work? Otherwise I may as well cancel my CC subscription and go back to 5.5

Are all the file specs that you set up in Image Processor available in the Save Image button in ACR?
If so, your steps could look like this:
With Crop tool, set image to correct proportions.
In Workflow Options, choose preset you made for 10x8.
Click Save Image button, choose preset you made for format/file specs, click Save.
While that is processing in the background, repeat steps 2-3 for the next two image dimensions. The odd one is the 8x6 dimension because it doesn't match the proportions of the first two, so for that one you'd have to go back to step 1.
If you can accomplish your entire workflow in Camera Raw, and if I haven't misunderstood what you need, this could end up being a more efficient workflow overall by saving the trip out to Image Processor.
Of course, this assumes you've set up presets (a relatively new ACR feature) for your standard dimensions and file specs so that you can keep the number of clicks to a minimum.

PS CS4 graphics artifacts from Lightroom 2.2?

Hello,
Forum search didn't reveal mention of this one, maybe I just didn't search the right keywords...
If I switch to PS CS4 from LR 2.2 (using Alt-tab in Win XP), I get graphics artifacts on the PS display. They are portions of the screen from LR, and cover parts of the image. If I zoom or pan, they flicker yet stay there.
I can "clear" the artifacts by switching to any other full-screen application and back to PS. They reappear the next time I switch from LR to PS.
Anyone else have a similar issue?
I found some passing similarity here:
http://www.adobeforums.com/webx?128@@.59b6f460
though that issue seems even more messed up than what I see.
Testing through Adobe Support's suggestions revealed that I can't re-create the issue when using another user account on the machine. They said they think the user account is "damaged". That would not be a good thing, seeing as how it's the built-in Administrator account of Win XP :) At any rate, assuming it's true, how count I address a "damaged" user account? Just the user profile? Or is it the account itself? Not getting a lot of leads in the MS Win XP KBase.
Specs:
Win XP SP2 & SP3 (both have same issue)
nVidia GeForce 7600 GT 256 MB driver v.178.24 (current)
4 GB RAM, and using /3GB switch
3.2 GHz iCore2Duo
Thanks,
KDJ

Thanks Wolf. It never fails that after I try the latest driver, have issues, and post about it, that a new driver has already been released :) At any rate, I have now tried 181.20, which is the latest driver (as of 5 minutes ago), and the problem is unchanged.
So, my questions above are still open. Anyone else having similar issue?
Thanks,
KDJ

White line artifacts from PowerPoint 2007

We are testing Windows 7 x64 in our graphics department and have installed Acrobat 9 Pro (from CS4)
When creating a PDF from certain powerpoint files, some of the images land up split up with white lines through them.
The same powerpoint file convert fine, without artifacts, when created on a Windows XP x86 system and PowerPoint 2003. Acrobat 9 Pro from CS4 is also installed on that system.
Is this a bug? A feature? Something we can work around?

Actually I already tried that and while it did fix the background issue, it made the rest of the video look bad. From what I've read its not designed for highly animated videos, which mine is, so even at a higher quality it seems to stutter and the images appear to be at a lower color depth.
Maybe I'm setting it wrong?

Cannot Save TIFF from ACR

This is my first post on this forum. Please forgive me if I have completly misunderstood something.
I am using PSE7 with ACR 5.6 on Windows 7 (soon to be updated to PSE 11/7.2). I have only been using RAW files for a short while so I am far from familiar with ACR but I am fairly sure that when I first installed it the "Save Image" dialog box offered me several file formats, in a drop down box, to save the image as. I remember tif, jpg, psd and dng at least. Now I am only offered dng (in both all uppercase and all lowercase). Am I remembering wrongly or have I changed something somewhere that is doing this? I can find no way to save the image other than as a dng. If it matters ACR is set to 8bits/channel and I am trying to convert NEF files opened by right clicking in the Organiser and selecting full edit where upon ACR opens.
I have tried re-downloading and replacing the Camera Raw.8bi file to no effect. I suspect it is me doing something wrong rather than anything being "broken".
Many thanks in anticipation.
I originally posted this to the PSE forum but I should have posted it here. Sorry for the confusion.
Peter

In the Camera Raw dialog click the “Open Image” button (bottom right) and that will send the file into the Elements Editor interface.
Then use File >> Save As and choose tiff.

Bokeh artifacts from ACR 4.3.1

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