Bright Colors Displaying "Hot" in Camera RAW 8.1

So granted I'm a new user to PhotoShop CC, but not to editing or working with RAW. My current editing program doesn't do anything like this, so clearly this is a PhotoShop issue.
When opening a photo with some bright yellows in the foreground, the yellows all become "hot", and show up like it's some sort of a filter being applied. This is making it impossible to work with the photo & make adjustments in the Camera RAW lab. The same thing does not happen when the photo is opened to "edit" directly (versus working with it in Camera RAW lab).
See attached image.

Yeah, that would be the one. #Newbie.
Thanks, Chris.

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.nef Nikon D5100 is not displaying right in Camera Raw

Hello,
these two images show the exact same .nef file being opened in two different programs. The first one with the blown out colors is opened in Adobe Camera Raw. The second one is opened in Nikons View NX 2 software. This is also the way I see the photo on the display of my Nikon D5100 camera. I really would like to handle my .nef files in Bridge and Adobe Raw and not in Nikon View NX2. Can someone help me with this please? I have Photoshop CS5.1 (64bit) and Camera Raw 6.7.0.339.
Thanks in advance,
Thomas

Hello,
Thanks for the reply. How do you switch the camera profile please?
I can adjust the settings in ACR so that it looks more like the Nikon Software, but it's not easy to match this. Also, when I pull vibrance to -100 for example to regain the detail, a lot of noise appears. You'll have to admit that there is a BIG difference here between the two images. (both are untouched)

PSE 8 doesn't see color changes made in Camera Raw

I have just installed PSE 8 and am getting started. I have made changes to an image in Camera Raw through Bridge and when I import it to PSE 8 it doen't have the changes. It shows the original image. What do I do to connect the two? Also Bridge "Creative Suite Color Settings" can't be enabled. It requires that a qualifing product be launched at least once to enable. But there is no info that I can find about this. Does this have anything to do with my problem?

At the very bottom of the ACR window you'll see blue link text with the info about the color space, bit depth, etc. of your image. Click it to bring up this window:
where you can make changes. In PSE, go to Edit>Color Settings.

Displayed metadata for camera raw photos

My work flow has me making adjustments to the manufactures NEF file and then saving as a DNG at a later time. This seems about the fastest way to do it and allows me to do my DNG conversions when I am sleeping, eating dinner etc as they do take a bit of time.
It would be very nice if I could have a option of displaying in the metadata if a photo is "NEF, CRW" or "DNG" rather than what I get now which is "Camera Raw" for all file types.

The data for NEF and CRW are proprietary to the camera vendor. Therefore, even if Bridge could decode them, which it very often can't, they are meaningless.
BTW: DBG setting is exactly the same as Camera Raw

Bridge and displaying Sharpening in Camera Raw.

Hello
Should the previews in Bridge CS5 and the slid show show sharpenig applied in Camera Raw?
Mike Engles

Hello
Thanks for the reply.
I have now noticed that if I apply a very extreme sharpening in RAW,
it does not notice much, if at all, in Bridge. If I use the loupe in
Bridge or zoom to 100% in the slide show, the sharpening is certainly there.
I would have thought that such extreme sharpening would be noticeable
on a 1920 by 1200 monitor in normal slide show or Bridge view.
Perhaps it is using different previews. The curious thing is that
some of my older images are using Adobe 2003 and these show
sharpening in normal Bridge view.When I convert to Adobe 2010, the
preview is rebuilt and the sharpening is no longer apparent.
All very puzzling
Mike Engles

Adobe Camera Raw for Nikon - generate JPEG with color off

Hi,
I am learning Photoshop and Camera RAW. I am using CS2 and ACR 3.7 on Windows XP.
I have noticed that the JPEG file generated by CAMERA RAW has the color slightly off (towards the bluish direction).
This is what I did, I started Adobe Bridge, I opened up the Nikon RAW file (from D200) with Camera RAW and then generated the JPEG file without using any AUTO or custom setting (took the As SHOT setting). After the JPEG file is generated, I compared the JPEG file, with the file on Camera RAW window, the color of the pictures don't match up. So what you see on Camera RAW window is not what you get in JPEG. The color shown in the Camera RAW window is warmer than the JPEG file. I used the Widnows default jpeg viewer and the Arcsoft Editor to look at the JPEG file, and confirmed the color of the JPEG file is off from the original RAW filed viewed Camera RAW widnow.
However, when I opened that same JPEG file (generated by Camera Raw) in Adobe Photoshop, and the original RAW file (without any modification) in Photoshop, the color of the JPEG file matches up the color of the original RAW file only in Photogroup. I am confused now.
Why the color of the JPEG file (generated by Camera RAW) looks OK on photoshop, but it is off in other viewers (default Windows viewer or ArcSoft Editor). However, when I used PictureProject (supplied by Nikon) to generate the JPEG file from that same original RAW file (without any modification), and I looked at the JPEG file (generated by PictureProject) on Photoshop, Arcsoft Editor, and default Windows viewer, the color matches up to the original RAW file on all viewers. So the problem only happens to the JPEG file generated by Camera Raw. Any idea?
Thanks,

When you saved out the JPEG in Camera Raw, what color space did you save it with?

Problem Resetting Color in Camera Raw

I am using Windows CS4 11.0.1 and camera raw 5.5.
After applying a color gradient with the camera raw graduated filter, I am unable to reset the default color back to black (with the cross through the color box). I've tried alt clicking, ctrl clicking, and shift clicking, but nothing is working. I know that there must be an easy way to do this, but I haven't found it yet. I will probably feel like an idiot after I receive an answer.
Thanks in advance for your kind assistance.

sacdbri wrote:
I am using Windows CS4 11.0.1 and camera raw 5.5.
After applying a color gradient with the camera raw graduated filter, I am unable to reset the default color back to black (with the cross through the color box).
Just pull the Saturation slider back to zero.
I recommend asking further questions in the ACR forum.
Camera Raw forum.

Camera Raw 8.4 does not show profiles for my Sony A850.

Camera Raw 8.4 does not show the profiles for my Sony A850. The camera profiles are in the directory, Camera Raw recognizes the photo as being from my A850 in the Camera Raw banner, but the only profile available is Adobe Standard. This all used to work OK a few months ago.

I don’t see any of these on either my Windows 7 or Windows 8 computer in that normal ACR profiles location. Both have PS-CC/ACR8.4 so maybe they used to be there and were removed?
However, if they are valid profiles you can probably get them to work by putting them in the user-customer-profiles folder:
%APPDATA%\Adobe\CameraRaw\CameraProfiles
%APPDATA% = C:\Users\yourusername\AppData\Roaming
I have over a dozen custom-created profiles in this folder and both Photoshop and Lightroom see them all.
A few years back it wasn't this way, but more recently Adobe recognizes which profiles are theirs and will ignore any others in the Adobe profile area, but it expects to see others in the user-custom-profile area, so move the .dcp files over there.
Did your A850 profiles come from a third party like these:
Imprescindibles
Maurizio Piraccini Photography: Sony (and Minolta) color profiles for Adobe Camera Raw and Adobe Lightroom - UPDATED 201…
http://pskiss.com/shop/cross-camera-color-profiles/

Worflow spaces option in Camera Raw.

It would be great, if the Adobe team brings to us the possibility to use other spaces in Camera Raw, like the team did it in Lightroom. Maybe in the near future ?

I was reffering to this :
- in Lightroom, we can convert the photos to sRGB, AdobeRGB, or ProPhoto RGB color space or choose to select a custom color profile.
- in Camera Raw, we can only convert to sRGB, Adobe RGB, ProPhoto RGB and ColorMatch RGB

Camera Raw 7 extremely slow

CR7 is super slow when uploading raw files. For Canon 550D files (20MP), it takes about 10-12 seconds to open one single file.
Adjustements sliders are also too slow. it takes around 6-8 seconds to react (white balance too). So, it's unusable : adjustement sometimes appear after I have already done the next one..
Jpeg are not a problem.Photoshop is not a problem neither.
My computer is not to blame : Dell, i7, 12 GB ram, HD Radeon 4870, etc.
I hope Adobe is aware of the problem and we'll react promptly.

Moi 87 wrote:
Dell, i7, 12 GB ram, HD Radeon 4870, etc
I hope Adobe is aware of the problem and we'll react promptly.
What i7 model? How many cores and what clock speed?
I ask because it's easy for questions like this to be confused with performance issues, where they may not be.
Also, for clarity, are you talking about the time it takes to do the actual conversion (i.e., to the point the image is open in Photoshop) or to initially display information in the Camera Raw dialog?
I just tested: A circa 2007 dual Xeon X5460 3.16 GHz processors (8 cores total) with a Canon EOS-T2i raw image:
With Photoshop CS6 already running, 1.4 seconds to display image in Camera Raw dialog after dragging and dropping on Photoshop.
1.6 seconds to open at 16 bits/channel in Photoshop after hitting [Open Image].
-Noel

Hot / dead pixel elimination in later versions of Camera RAW

Hi!
I was wondering if we could get some under the hood info on how Camera RAW handles hot / dead pixels. The standard answer 'Camera RAW eliminates these automatically' does not apply I'm afraid. I've seen more and more of these stuck pixels in my final output over the last few CR versions. Now, it could be my camera showing its age, but I'd like to know more about how Camera RAW maps stuck pixels.
I've just re-developed a set of some stage performance from last year, Canon 5D Mark II, high ISO and pushed, yes, but thats my whole niche. There's stuck pixels in all of them in the same spots. So I wondered how camera raw handles the whole mapping / processing of hot pixels. The set of images are here, and there's access to full size images also: http://www.flickr.com/photos/mvejerslev/sets/72157627732199199/ (I did clone out the stuck pixels on just a few of them though). It's a mix of processing version 2010 and 2012. Did not make a difference to the stuck pixels.
Mathias

Well, the issue with higher ISO images is: what's a hot pixel vs. what's a result of salt & pepper noise–those are different artifacts...
When you start ramping up the ISO (and use PV 2010 or 2012 without luminance noise reduction) the likelyhood of random bright (more or less) pixels (or subgroups of pixels) goes up.
The hot pixel fix is still in LR/ACR...but it becomes a battle between what's a hot pixel vs what's a result of camera noise...and ACR/LR tend to be very conservative when it comes to mapping out a hot pixel (or dead or constantly a certain color pixel).
ACR/LR can really only estimate what constitutes a hot pixel because there's no way of recording the XY position of a single pixel and telling it how to handle the mapping. It's an auto thing and as such it's subject to sometimes not working perfectly...
To really determine the issue, one (or Eric) would need an actual raw file–not something that's already been processed and resample. The more examples of ACR/LR not doing an optimal result the better the likelyhood somebody will look at doing something about it.

Camera Raw missing color channel

I am using PSE9 for images from my Pentax K5. All updates have been installed.
The raw files (PEF) have always worked in Camera Raw.
Today however, I have opened some raw files and found that ACR is not showing the red channel in any images. The JPEG thumbnails in camera are displaying correctly.
I have also opened the same files with Pentax Digital Camera Utility 4.40 and it displays the images correctly. This confirms the data has been recorded - thank goodness it is not a capture problem.
Any suggestions and solutions as to what has happened to Camera Raw?
Thanks to all who consider my problem.

I have been using a Pantone Huey colorimeter for many years now with great effect.
Unfortunately, this appears to be the source of my problems although I'm not sure why it would suddenly fail.
When I factory reset the Huey, i.e. there is no calibrated monitor profile, it displays all images accurately. As soon as I calibrate the monitor, the colors display incorrectly again.
The latest version of the Huey software was made back in the days of Windows XP. Therefore, there is no guarantee it will work with Windows 7 although it has been doing so for some time.
It may be time to replace it with a Colormunki or Spyder4.
If I go ahead, I'll post the outcome.

HELP!!??? Trouble with PS CS-6 displaying/ producing grainy and pixelated images after being imported using PS Bridge and Camera-Raw 8.5

Help!??? I am having trouble with PS CS-6 displaying/ producing/ saving grainy pictures when import NEF files!!!
Hi all,
When I import all NEF or RAW files into CS6 from Bridge and Camera Raw from the Nikon D200 and D5000, they become grainy/ pixelated. However, RAW files from the D800 did not have problem. I set the Color Space in my Nikons to AdobeRGB, in PS Camera Raw 8.5 to AdobeRGB, in PS CS-6 ColorSpace to AdobeRGB, and Save As Jpeg with Max quality (12). When comparing between CS-6 produced file and the original, I can see a big drop in quality and the picture become grainy and pixelated. What can I do to make this right? Any help/ suggestion is appreciated.
Thank you!
HN

Can you show us a screen-shot of the raw in Camera Raw that shows this noise, or if you only see it in the saved JPG, then show us a side-by-side of the raw in Camera Raw and the JPG? Show the same area of the photo and zoom to 100%.
It is normal for raw photos to have grain but you can mostly remove it with the Luminance Noise-Reduction sliders in the Detail tab of Camera Raw.
The amount of grain depends on the ISO sensitivity setting on the camera.

Duller colors from Camera Raw to Photoshop: why?

Hello!
I'm opening my Canon 70D RAW files with Camera Raw 8.4.1. After this step, I open the corrected file in Photoshop CC. At this point colors have changed, everything is duller and less contrasted.
See image.
Camera Raw color management: Adobe RGB, 16Bit.
Photoshop color management: RGB: Adobe RGB (prepress Europe 3)
Also, no color proofing is active.
How can I correct this issue?

This is a problem with your display profile. The conversion from source profile to display profile is not the same in these two cases, so a bad display profile can show up this way.
ACR converts from its internal working space, linear ProPhoto. Adobe RGB is just the export color space here, so irrelevant. Photoshop OTOH converts from Adobe RGB.
Recalibrate, and examine your calibrator's settings. V4 profiles and LUT-based profiles have caused problems for some, so try v2 and matrix-based if you have these options. You can also test by substituting a known good profile, which would be sRGB for a standard display, or Adobe RGB for a wide gamut one.

Camera Raw 4.6 Color Conversion Issues

I'm using CS3. In the Camera Raw 4.6 import window the color looks great. When I get the image into Photoshop the color looks horrible. I know it's the color profile that Raw is assigning. My question... is there a way to disable the color profile conversion coming from Camera Raw?
I've always had great results without using profiles and now this alters my color. I've even tried to go in and force the image to use a different color profile but at this point the damage has been done by the camera raw plugin.

"I've been doing professional color correction for about 15 years and know how to use the programs without the use of color profiles."
You're always using profiles no matter what, both a source and and destination for everything from your monitor to working RGB, CMYK and Lab to output profiles for proofing and print.
You need good profiles to define the hardware devices and color spaces. Without them, it's all only a guess.
"When I say "great color", I mean to say Photoshop doesn't adjust my color with profiles because I have profiles disabled."
There's not really a way to disable profiles in Photoshop. You can sort of turn them off, but the default profiles in your Color Settings dialog are still in effect no matter what. In fact, you can't even display in image in RGB or CMYK without at least two profile, and more often three.
Just having profile in the loop doesn't mean that Photoshop will "adjust" your colors. Photoshop will only do what you tell it to do.
"My monitor is corrected and I have no need to use profiles since I understand UCR & GCR conversion for printing."
You monitor is corrected? How? Have you calibrated it? After the calibration Photoshop needs, you guessed it, a monitor profile, in order to properly display your images. And how to you get from the RGB of your digital captures to the CMYK you need for offset? Yeah. Profiles. Even if you're using the archaic and outdated Custom CMYK to set your total ink and black generation, you are still in effect, using profiles. You are using the parameters defined there in the same way custom measurement are used in ProfileMaker to generate a custom ICC profile. It's just not as accurate.
"Also, when I have something printed somewhere I have them disable their profiles to provide true color. And I also force acrobat to use my color maps when building pdfs so my printer has no need for conversion of any kind."
How you do know you've made the right conversion for that printer. Most printer just ignore embedded profiles anyway, but including proper output profiles can enable them to display the files correctly on their calibrated screens, and for the more advanced printers, that embedded profile can allow them to use Device Link Profiles to convert your files to custom press or proofing profiles.
"My complaint was that the Camera Raw Plug-in forces me to convert to a profile with 4 possible choices. I was asking if there is a way to disable this?"
It's actually a choice of four different profiles not a profile with four choices. The choices are based on color gamut and gamma in order of increased gamut. There is no way to disable them. What would you put in their place? There are raw converters that will let you convert the raw data to any color space on output, including CMYK. Maybe that would be more appropriate for you. CaptureOne and Raw Developer are the two that come to mind, but they all use profiles.
Hell, even in the golden age of the drum scanner, scanners like the Hell 3010 without even being able to see an image on screen, used profiles, only they called them by a different name - lookup tables. Lookup tables for scanner input and characteristic lookup tables for the analog proofing system the house used.
"I found if I convert using the Adobe 1998 profile the color comes out close, I simply have to increase the saturation to return to the original optical image values. I would however like to bypass this step."
It sounds to me like you need to spend a few weeks getting up to date with the tools that are available now. Between hardware monitor calibration and custom CMYK output profiles that take into account different ink limits and black generation, you're missing out on a boatload of fun.
A lot of things have changed in prepress in the last fifteen years not the least of which is that little number called Direct to Plate. Since everone has gone DTP, the one thing that has gone by the wayside are any kind of overall proofing standards. Where you used to be able to send the same file to ten different printers and get back proofs that were extremely close, now they're all over the map. The only way to effectively deal with this is with custom profiles for the high end digital proofers that printers use today.
Sure, you still need to take into account the specifics of total ink, highlight and shadow values, but you simply can't rely on the positively ancient ink definitions in Custom CMYK to work very well for any of today's output. Unless, of course, you and your clients don't mind going through rounds and rounds of proofs.

Bright Colors Displaying "Hot" in Camera RAW 8.1

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