CS3 ACR and Nikon Profiles

I recently installed CS3 on an older Dell workstation (ca 2005 or so) to enable the use of the Epson scanner on XP Sp3. I also want the user of that computer to access CS3 to at least learn fundamentals. CS3 shows 10.0.1, ACR 4.6.0.30. All I can see in Calibration is 3.6 and 4.6, not even Adobe Standard. I have not had this happen on previous installations on XP and I am stumped. This isn't a big problem, the scanner doesn't use them, but certainly, she should have access to those profiles.
There are two versions of View NX on that machine which she has been using but I have that on my own machine (Win 7) with no apparent interference.
So, what am I missing?
I should add that the Nikon cameras are D80 and D90, both supported by 4.6

While ACR 4.6 can (if I recall correctly) use DNG profiles, I don't think they were installed with ACR, I think they were (and are now) installed with the free DNG Converter. The current shipping version is 6.6 which should run in XP. Install that and you should then have the DNG profiles.

Similar Messages

ACR and Nikon D800e Raw files

This discussion is actually a follow on to an earlier one where I thought the issue was resolved. I am using CS5 extended 64 bit with WIN 7 64bit and ACR version 6.7. I verified the ACR version checking for updates and was informed I am up to date. According to the ADOBE help site ACR v 6.7 is available to open Nikon D800e raw files. However when I try and open these raw files there is a message that the camera model is not supported. Any help on why the raw files cannot be opened with ACR 6.7 is appreciated.

Thanks Noel - after several hours of experimenting, I found the issue. I use a stand a lone software, Nikon Transfer, to download images to the computer. The software allows me to preview/select, rename, and make simultaneous copies for backup. This software has worked without issue, however when downloading images from the Nikon D800e, it does something to the raw files making them incompatible with ADOBE's ACR and even Nikon's ViewNX 2 software. Now here is the real curosity. When Nikon Transfer is initiated from within Nikon View2 software and not as a stand a lone, it works, and ADOBE ACR 6.7 can read the raw files. Again thanks for the help.

ACR and camera profiles

I feel like such a dunce! I have heard this mentioned before, but I don't understand. How do I select my specific camera in ACR? I'm sure you all know by now, but I am using the Nikon D70.
thanks!
Hopper

Ann,
My problems appear to be OpenGL-related, as do many of the same problems other users are seeing. I'm willing to accept that something about the machine that I'm seeing the problems on (my main XP work machine) are related to something about my system. I've tried everything that's been suggested in the forum, including updating my video drivers and various other things. Part of the problem, IMO, is that video card makers are geared strongly toward gaming, and don't really care about PS users. Adobe tells me to contact ATI, which I did. ATI tells me it's Adobe's problem. Go figger.
My
main problem is this: When I open a file in PS and then drag the window to a different location, the content of the window disappears, letting the background show through. Adobe says that they haven't been able to reproduce the problem, but it's been reported by some other users. Makes it kinda hard to get any work done!
On my other machine, which is used mainly for surfing, I recently did a clean install of Vista 64-bit, and CS4 works fine on it. Hence, I'm pretty sure my work machine is fouled up some how, I just don't know where to look for the problem.

ACR and Output Profiles again.

I read a techie fight about this subject in an earlier post.
I understand that ProPhotoRGB 8 or 16 is a possible way to go and then reconvert or what ever.
The question that was never answered was: Can we change from the 4 default spaces to a different color space that we want to use while still in ACR?
At this point a simple yes or no would be in order.
If it is a no answer. I would like to respectfully request it be an option in the next version of ACR.
Thanks, Ben

Thanks Jeff,
I receive poor originals from clients that need repair. I like to open them in ACR because I can make a lot of moves in one place and test the waters
IE. I had a very dark, noisy, but basically OK Jpeg image that I would open, if possible in ProfotoRGB but in 1.0 or 1.4 gamma false profile and then do what I thought needed to be done.
This I know could be accomplished in other ways, but I was playing "what if?" and asking "why not?".
I did my own work around in Photoshop and got the job done.
The idea is just one of convenience and time saving. ACR 4.3 is a great asset to me for both raw and cooked files.
The result of the prior wordfest on this subject indicated to me that I am an art guy, not a computer science guy. I would like it If ACR would let me do what I think I need to do in a way that is conceptualy possible for my undersized brain to understand and have ACR do what needs to be done behind the scenes.
Regards, Ben

ACR 5.2 camera profiles and Nikon D700 color artifacts

Using LR 2.2 or Photoshop CS4, conversions of D700 NEFs often result in peculiar color 'artifacts' (posterization?) in certain images, when using the new camera specific profiles like Camera Standard (or particularly Camera Landscape). Typically, the Adobe Standard or ACR 5.2 profile don't exhibit this behavior, at least not with significant changes to saturation and contrast.
An example of this can be seen at http://farm4.static.flickr.com/3400/3179948383_cfda478eb8.jpg (LR 2.2, Camera Standard profile). Question is whether these sorts of results are expected? I'm otherwise quite happy with the new profiles. Thanks,
Mike

Mike,
1. You may be happy if the problem goes away with the lossless compression, but it would be a nice service to the D3/D700 owners' community to
b prove
this. There are many photogs convinced, that the lossy compression does not cause visible loss (Nikon created a myth about this issue already with the D70).
If you can create pairs of shots demonstrating the effect and would not mind my using your images, I would spread this on other forums as well, as I did with the D300.
2. Re WB:
i normally
you can accept the WB interpretations of different raw processors, but not if the issue is just the WB. The fact, that the displayed color temperatures are close, does not mean much: the color temperature is not absolute. I don't go so far as to say, that it
i should
be different between CNX and ACR, but you can not rely on the number.
Even the snow is clearly reddish in the ACR created JPEG. You may complain about ACR's WB conversion, but that is a separate issue. In order to compare the colors, first the greys have to be made grey in both conversions.

CS3 & ACR 4.6 - camera profiles questions

Happy New Year to All
I am using CS3 with ACR 4.6. I installed the beta 2 camera profiles.
Is there any way to get the newer profiles without having to upgrade to CS4 and ACR 5?
I only see nikon d2x in the list. Are there other camera profiles available?
Thanks,
Paul

Paul,
Also note that there is a forum a couple of doors down dedicated to ACR and DNG issues. See: http://www.adobeforums.com/webx?13@@.3bc03c04
Thanks.
Neil

PS CS3, Camera Raw 4.6 Update and Nikon D810 NEF File Reading Issue

Currently Have Photoshop CS3 & Adobe Bridge CS3 2.1.1.9.
According to Adobe, Camera Raw 4.6 supports Nikon D810 NEF files. I have downloaded Camera Raw 4.6 Update. When
I try to open Nikon D810 NEF files, I get Photoshop CS3 error that says
"cannot complete request your because it is not the right kind of
document. These NEF files wont open in Adobe Bridge at all. What am I doing wrong?

Hey,
Before I purchased, let me get your thoughts on another option that just occurred to me which involves:
1)Editing my D810 NEF files in LR 5.6, which I have, then exporting/saving the edited files as JPEGs.
2) Doing any additional editing, as necessary (i.e. that might require layering or selections..etc) , with the JPEGs with Bridge or PS CS3.
This method wont involve any additional software purchase now.. right? Am I missing anything. here? Since my final output to my customers are JPEGs any way, wont this work? Will I be at any disadvantage. Am I missing anything. here?
From: ssprengel <[email protected]>
To: charles cash <[email protected]>
Sent: Monday, October 6, 2014 9:49 AM
Subject: PS CS3, Camera Raw 4.6 Update and Nikon D810 NEF File Reading Issue
PS CS3, Camera Raw 4.6 Update and Nikon D810 NEF File Reading Issue created by ssprengel in Adobe Camera Raw - View the full discussion
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How does Adobe make their camera profiles for ACR and Lightroom?

I'm not interested in the proprietary algorithms , but I am curious as to the photographic mechanics and hardware tools used by Adobe to make the various camera profiles as they differ markedly from the ones I make using the DNG Profile Editor.
My methodology is to set an X-Rite 24 patch Color Checker target, light it evenly with electromic flash (with 0.1 stops from center to corners as mesured with a Sekonic L-758r Meter) and make a series of exposures bracketed in third of a stop increments around the meter reading in case the camera sensitivity differs from the meter's.
I then process the raw files and convert them to the DNG format, select the best exposure and run it through the DNG Profile editor. My results differ from Adobe's generic profiles for that camera enough that that I don't thin kthe difference can be credited to the difference between a generic profile a specific camera.
How do the different tools work in the DNG converter? Starting with the Options for "Base Tone Curve"? Is there a document a moderately color geeky person can understand that explains this?
I thin kthe DNG Profile editor is a great and under usedtool. I wish more people knew about it.
Thank you for your time and consideration.

Someone who only eats sausage may not want to know how it's made. Someone who creates things with food, a chef, a cook, or otherwise is thinking about a career in the food industry, might have a interest in such things. Someone who is thinking of making sausage will want to know all the details. Someone who is concerned with the public safety might want to know how sasauge is made.
It would be nice for a sausage maker to give some hints about the process as compared to what each of us can do with the DNG Profile Editor and to the original poster's question, why are our profiles different from Adobe's?
It is my experience that when I create a profile with the DNG Profile Editor, and then compute the color error for each of the 24 color patches of a CC24, using a program like Imatest, some colors are quite a bit off and some are very close, and the colors that are off, are not the same ones that are off when I compute the color error using one of the Adobe Standard or Camera Standard profiles.
Is Adobe using more detailed and sophisticated color targets with hundreds of different colors, or if not, do the tools provide more feedback and allow more manual manipulation of the profile and so the differences are due to their judgement about which colors to make "right" and which ones to let have more error associated with them, that can be manipulated by hand instead of merely letting the DNG Profile Editor apparently distribute the error amongst the various colors with some sort of even-handed calculation.
For example it is easy to imagine that someone tweaking a profile by hand with a live readout of the error of each of the colors plus an overall composite error, might put more emphasis on skin tones being right if they have a background in people photography, or more emphasis on bright colors being right if their experience is in textiles and the current trend in the US is bright colors--and a different emphasis when the trend is muted colors so there is cultrual bias and life-experience coloring a "standard" profile.
In other words, how much of the difference between Adobe and our profiles are due to Adobe having different or better science, and how much of it is due to Adobe have different or better "artists" who decide what colors to make correct compared to others.

Adobe Camera Raw Save Settings and Lens Profile Corrections Help

I have been fooling around with Adobe Camera Raw’s (ACR) ability to save settings so that I can apply them to other images. I’m able to set things such as clarity, vibrance, camera profile etc. What I want to do is enable Lens Profile Corrections and have it automatically detect the lens information for future images, apply no distortion corrections and apply vignetting and chromatic aberration corrections. However, when I try this, the Lens profile sticks on “Canon EF 24-105mm f/4 L IS USM” (which is what I used for creating the settings to be saved) regardless of the lens used for the image that I am applying the settings to. Is there a way do this?
I’m using Photoshop CS6 and ACR current version.
Thanks,
Mike

You should see an Adobe Standard profile and perhaps an ACR x.x profile for your camera, but Adobe does not make Camera-centric profiles (landscape, portrait, camera neutral, etc) for most cameras unless they are Canon DSLRs, Nikon DSLRs, one Leica and a few Pentax cameras.
On a Vista/Win7 system you can verify what models of cameras are supported by Adobe by looking for profiles in:
C:\ProgramData\Adobe\CameraRaw\CameraProfiles
The lens profiles are in:
C:\ProgramData\Adobe\CameraRaw\LensProfiles
There are comparable directories on Win XP.

Adobe 3.3 and camera profiles

I am running 3.3 on a MacPro. I shoot with an olympus E-1. When I go to camera calibrations the only three options I have are ACR4.4, ACR 2.4 and Adobe standard. In Kelby's book the drop down menu shows many other options. What am I doing wrong?
thanks in advance.

These are the only profiles that are supplied by Adobe for the E-1.
For most of the Canon and Nikon cameras other profiles are supplied. Go to the CameraProfiles folder to see the cameras that Adobe supplies additional profiles for.

How do I create an ACR custom lens profile if camera exposure can't be set to manual?

How do I create an ACR custom lens profile if camera exposure can't be set to manual?
I ask this question for the Nokia 808 PureView 41MP camera. It produces stunning image quality but exposure can only be controlled via EV +/- compensation. I need a lens profile to correct for vignetting to get even skies in panorama (which turn out stunningly otherwise). There is no profile for the Nokia 808 PureView I am aware of and I'd like to produce one.
Is the Adobe profile creator able to correct for varying exposure using EXIF or overlapping parts of the chart or background?
Or would the Adobe profile creator ignore EXIF if I use studio flash to enforce a constant lightning situation, even if shutter speed would vary (aperture is constant and ISO can be set constant, just not the shutter speed)?
Or did Adobe produce a profile internally they can share?
Thanks.

If you read the first post, this is the camera-app of a 41MP Nokia Pureview 808 camera-phone, so maybe someone could write a new camera app but the phone is Symbian OS which is dead, making that unlikely.
http://www.digitaltrends.com/mobile/the-skeptics-guide-to-nokias-808-pureview-five-reasons -41-megapixels-are-not-a-gimmick/
http://www.digitaltrends.com/mobile/the-nokia-lumia-820-and-lumia-920-too-little-too-late/
It would probably be easier for Adobe to rewrite the LPC to allow vignetting to be computed from a single shot of a blank wall without a target in the shot, than to have someone rewrite a camera app that allows manual exposure.
Another idea about how to get the phone to keep a constant exposure would be to experiment with putting darker and lighter objects in the field-of-view away from the target area to make the camera metering adjust things so it’s exposure is the same from one shot to the next. This would take some doing but should work, unless the LPC uses the part of the frame that doesn’t contain the checkboard target in its computations.
You’re basically varying the scene around the target so the camera takes the same exposure of the target each time.

ACR and Smart Objects

ACR and Smart Objects...
Ok, I'm trying to take the plunge into Smart Objects. I want to control localized luminance as well as localized contrast adjustments (using masks in PS CS3) in a non destructive and flexible way. Instead of the usual: bringing into PS multiple exposures of a single Raw image, or bringing into PS multiple bracketed images (landscape) I am exploring the idea of bringing these images into PS as Smart Objects.
I have figured out how to work with multiple copies of a single Raw image as Smart Objects, but can not figure out how to get different bracketed Raw files layered into PS as Smart Objects...
Would someone offer some assistance, if it is possible?
Thank you!

>Would someone offer some assistance, if it is possible?
If you have multiple images (as opposed to multi versions of the same image) you'll need to open each of the images as separate SO's and separate documents, then drag them into one document.

Using the Nikon RAW NEF format and Nikon Capture NX.

This is about using the RAW NEF format in Aperture together with RAW NEF capable editing programs, specifically Nikon Capture NX.
I basically agree with Aperture that it is a "workflow tool" and NOT a photo editor with all the bells and whistles of Photoshop or Nikon Capture. Apple fixed the most basic level of NEF conversion with version 1.1, great!
However, as a workflow tool for RAW images, I cannot seem to figure out how to use RAW (Nikon's NEF) files efficiently with the new Nikon Capture NX.
Nikon Capture NX is quite an interesting alternative to Photoshop. (I cannot wait or the Universal version, as with Photoshop, but that is another matter.) I like the work flow idea it uses, and I like that it edits the RAW NEF files directly, layering the edits on the RAW data. If I open an edited NEF file in Photoshop using the Nikon Plug-in, the result looks great. If I open the same file with Aperture (or using the Adobe RAW plugin) the result is basically an unedited version of the RAW NEF file. This is very disappointing.
It seems I need to export the file from Nikon Capture as a TIFF or JPG. The TIFF gives good results but takes up about 10x more disc space. With the JPG I must give up the 16-bit per channel color depth. Neither allow me to have a "RAW workflow" as advertised by Aperture.
What am I missing? Is this something Apple is going to work on by working more closely with Nikon (and Cannon)? (I figure Nikon keeps their conversion algorithms secret.)
Or are we out of luck here?
Macbook Pro 17" Mac OS X (10.4.7)
Macbook Pro 17" Mac OS X (10.4.7)

How do I know? Well if you change the white balance settings in-camera, different numbers come thru in Aperture. But the numbers in Aperture, ACR and the presumed numbers in-camera do not match. I wrote Nikon about this quite a while ago and they wrote back saying we do not know how other people interprete our proprietary WB numbers. See note below for additional insight as how you might look further into it
"The shooting data I referenced is available in Nikon View Browser when viewing your images. Looking at all the images at once, it is easy to compare changes made to the camera by quickly clicking on the separate thumbnails. They displayed the differences I had mentioned before. If you do not already have the software, you can download it here:
Title: Nikon View 6.2.7 Full Version - Windows
URL: http://support.nikontech.com/cgi-bin/nikonusa.cfg/php/enduser/stdadp.php?p_faqid=13760&pcreated=1131989543
Nikon Capture will not report a temperature value for White Balance, unless a manual Kelvin setting is selected using the option in the D200. As I mentioned before, Auto White Balance, and other Auto settings in the camera may not deliver a consistent result in a burst or as separate still frames even if the subject has not moved or changed. You have a cast on that one image using Auto White Balance. This is not uncommon, just choose a different value. The value may not even accurately reflect what situation you are in. It may be sunny, and you choose cloudy. The White Balance is not measuring the ambient light, it's used to measure the temperature of the light reflecting off your subject. The closer your subject is to white, the closer the value. This is why a preset is taken with a white or neutral gray card.
Since Auto White Balance covers a wide range of temperature, the exact value is not recorded anywhere that I know of. In addition, all White Balance temperatures are approximate values, as per the manual page 35. Having a cast on an image while using Auto White Balance is very possible, just choose another value more suited to the ambient light.
Set the White Balance to K , and capture an image, and this will be reported by the shooting data in Nikon Capture. I have no idea whether ACR is reporting an accurate value or not, we do not support that software, but check this value against what you see in there software."
Regards,
Steven

Over-saturation and color profile problems

Adobe Bridge CC color settings are set to North American General Purpose 2.
Adobe Photoshop CC is synced with Bridge for color management. PS working space is sRGB
The thumbnails and previews in Bridge match what opens in ACR and Photoshop. When I view the thumbnails in Win7 file explorer they are oversaturated. When I veiw them in web browsers they are oversatured and in some instances there is an intitial moment where they look one way, then the image transitions quickly to a more saturated version.
In Photoshop under View > Proof Setup it is set to sRGB. When I turn on Proof Colors I can see the oversaturation in Photoshop.
I am using a Spyder4 Pro to calibrate.
I have an Asus PA24 wide gamut monitor.
I see the same oversaturation on other consumer level (narrow gamut) computers and monitors.
I've seen similar threads and I apologize if this is repetitive. The other threads got so long and off topic that I couldn't find my specific solution in them. If you know of a thread that may help, please refer me to it. Or if you know the solution, that would be most helpful. Thank you.
Below is an example of Bridge and file explorer showing the same file differently. The Bridge view is what Photoshop is showing me too.

Steve Lenz wrote:
So my assumption is the monitors profile is not the same as the files tagged profile
My goodness, no. If they are, you get what's known as a null transform - IOW the whole color management chain is disabled.
Your document profile is what it is, sRGB, Adobe RGB etc. When that file is sent to the display, those RGB values are remapped into your monitor profile. Put in other terms, the doc profile is converted, on the fly, to the monitor profile. You need both, one is converted into the other.
When you run the Spyder software, it creates a profile and sets it as default monitor profile on OS level, where Photoshop finds it by itself. It also runs a general calibration, but that's not relevant here. Photoshop is only concerned with the profile, which is a description of the monitor's behavior in its current (calibrated) state. Just run the software and let it complete, don't do anything.
Just to get on to some firm ground here: Try to set Adobe RGB as default monitor profile in Control Panel > Color Management > Devices (reboot). Since this is a wide gamut monitor (it is - isn't it?), Adobe RGB is in the ballpark, and it's a known good profile. So that's roughly how it should look.

Color shift between image viewed in ACR and open in PS

Today I updated Photoshop CC and now I have a slight color shift problem between the same image open in ACR and then opened in Photoshop. It appears to be slightly more saturated in ACR.
I have tried the same thing on another computer and it does NOT have the same problem so it must have been something that happened in the update (ACR was one of the items updated). I have also compared the preferences between the two computers and they are identical.
I guess the next thing to do is to deinstall PS and reinstall????
Any advice would be appreciated.

Any difference between ACR and Photoshop is most likely due to a monitor profile problem. They both use the same monitor profile, but there are differences in the actual conversion so a problem can show up differently between them.
Is your monitor calibrated/profiled, and if so how, using what calibrator? Or are you using the Windows default (sRGB), or perhaps you got a bad manufacturer profile through Windows Update? (yes, that happens frequently).
To find out if the monitor profile is indeed the problem, go to Control Panel > Color Management > Devices. Set sRGB IEC61966-2.1 as default profile (if it isn't already), then relaunch Photoshop/Bridge and see if the difference is still there. If your monitor is wide gamut, use Adobe RGB instead.
Note that this doesn't fix the problem as such, but if you don't have a calibrator sRGB will usually be close enough until you decide to get one.
If you do have and use a calibrator, make sure it is set to make v2 profiles, not v4, and matrix rather than LUT profiles.

CS3 ACR and Nikon Profiles

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