Default ACR camera profiles always criticized: why?

A little theme for ACR users (and programmers team):
The most "diffused" issue against using ACR instead of "branded" software (Nikon Capture NX o Canon DPP to name the most used) is:
The colors in ACR seem "washed" or with no "punch"!
If You calibrate ACR with a GM 24 panel colors regains a new life.
But WHY?
How can be possible that the 2 (yes two) profiles created by the Thomas Knoll team are ALWAYS more washed (Nikons reds are always offs) than a homemade shot of the GM panel made by a user? Yes, cameras have tolerances but how big they are?
The factory preset should be the more precise! But to obtain good deltaE values (the error time in perceiving colors) ACR users are FORCED to recalibrate ACR.
Why? Cannot be created a series of profiles (by Adobe) to be more like the brand company color rendering?
If ACR had better factory calibrations (contrast or brightness differences doesn't give so much pain) instead of washed colors, many NX or DPP users would use ACR for sure! It has many advantages over other softwares.
Can an Adobe profile-maker staff member give an answer to this theme?
Or some forum user has some ideas?
Thanks!

Personally, I have found that the results produced by ACR from my Nikon D70, D200, and D3 are not that different from those produced by Nikon Capture (Nikon's raw converter, which gives results very similar to in camera JPEGs) when the camera rendering options are set to neutral.
Nikon Capture reads the camera settings and applies them, whereas ACR ignores settings except for white balance. By neutral, I mean normal contrast, normal saturation, no hue adjustments, and a normal tone curve. The camera factory defaults vary. Cameras for the amateur market tend to have settings favoring saturation and contrast, whereas the professional cameras tend to have a more neutral default. These defaults are usually given in the DPReview writeup for the camera.
Since the OP asked for some ΔEs, here they are. I photographed a MacBeth color checker with the D200 with daylight illumination. Settings were: Color Mode, II; Tone Compensation, normal: Hue Adjustment, 0; Saturation, normal; and Sharpening, none. I then compared the results from ACR and Nikon Capture NX with Imatest, which gives the ΔEs, presented here in graphical format.
Color checker with NC using normal camera settings:
http://bjanes.smugmug.com/photos/216270605_RK5fe-O.jpg
Color checker with ACR default settings:
http://bjanes.smugmug.com/photos/216270602_twDZB-O.jpg
NC analysis with normal camera settings:
http://bjanes.smugmug.com/photos/164349487_rWTQN-O.png
ACR analysis with default settings:
http://bjanes.smugmug.com/photos/164350910_FMqRN-O.png
ACR post calibration with Fors Script:
http://bjanes.smugmug.com/photos/172494801_9vACX-O.png
For help in interpreting the charts, the reader should refer to the Imatest web site, which has detailed explanations. In summary, the further from the white point in the center of the plot, the more saturated the color is. Shifts in hue are indicated by shifts in the *a, *b axes. As can be seen from the plots, the ACR rendering is actually slightly more saturated and has overall better color accuracy then the NC rendering. The Fors script calibration gives near "ideal" camera results with ACR.
As Thomas Knoll and others have pointed out, a neutral rendering is often not the most pleasing one, and saturation and contrast are often boosted, but this is a personal preference.
With the Fors script, the ACR settings are set to a very flat image. After calibration, the ACR controls are reset to normal and the calibration settings (in their own tab are left as set by the script).
http://bjanes.smugmug.com/gallery/2572598_U5Bow/1/172494801_9vACX#137154990_ketk5-O-LB
If you re-run the Imatest analysis after calibraiton with the normal settings restored, the colors are quite saturated and you must talk this into account when using the script calibration.
http://bjanes.smugmug.com/photos/163194057_NEAYm-O.png

Similar Messages

ACR Camera Profiles and Camera Manufacturing Tolerances

For every camera model there is one set of model specific ACR camera profiles. Although those profiles are model specific, they are not camera specific. I'd suspect that not all cameras of the same model will produce exactly the same colors due to manufacturing variations. I'm wondering if differences in color rendition between cameras of the same model are visible or neglectable? Any experiences?
A similar question: Taking the "same" photo with a Canon 550D and a Nikon D90 camera and processing the RAWs in LR with Adobe Standard profile can result in quite different colors (even when setting WB manually). Shouldn’t the processed photos look almost the same?
Thanks in advance for any help!

My Nikon D80 and D90 don't look the same and I have run comparisons between the Canon 7D and the Nikon D90. Taken together, they all different from each other.
The biggest difference between the D80 and the D90 seems to lie with the much larger dynamic range of the D90. Compared to the D80 at first glance, the D90 seems washed out at the lower values. This is easily overcome in ACR, but even with that, the subjectivity of the reproduction sometimes gives a nod to one over the other.
The closest film comparison is Fuji Astia vs Provia. The D90 at default Nikon Camera Standard resembles Astia, while the D80 is a cross between Provia and Velvia. All this is controlable. One slider I use to enrich the D90 presentation is the black slider
The Canon has other undefined differences which I have simply noted by viewing. I haven't engaged in any tweaking of that camera's images.
So I'll use both the D80 and the D90 according to what I am wanting to happen. Of course, there are times where the differences simply inform the operator of what may be doable, and then one is tweaked to look much like the other.
I checked out sprengel's links to the calibrator software. They have stopped at CS3, it seems. How does it perform with CS5? I may want to at least run a calibration of both cameras and look again.
And, of course, Adobe Standard and Nikon Standard do not agree. At all. So, when is a standard not a standard?
When there is more than one.
Looking back at your post, I should specify that the profile I used when making the comparisons have been the Camera standards, not Adobe Standard.
Message was edited by: Hudechrome

ACR Camera Profiles - missing?

I'm new to ACR and would like to open a .nef file using a Nikon D3 camera profile. I'm running the last version of cs5 and ACR 6.2 (updated today). When I open the file in ACR, I see the Camera Calibration tab, and the Camera Profile pop up menu. I see profiles that look generic, like Camera D2X Model 1, Camera Vivid, etc. I looked in Adobe Application Support (Mac OS 10.6) and see a long list of camera profiles, including the D3..what am I doing wrong? I'm missing something for sure.

Since Lightroom will not read in-camera settings for raw images, those profiles have been designed and named to emulate those settings as closely as possible. I'm not enough of a Nikon historian to understand why they include profiles for the D2X, but they are there for every Nikon camera that I am aware of. Apparently there was something about the output of that camera that a lot of people look for.
When I first started using Lightroom and the profiles I was quite satisfied with the Camera Standard profile, which simulates standard output from the camera in JPEG mode. But it was a little too saturated and the shadows were a little harsh for my liking. I eventually changed to the Camera Neutral profile and made a couple of adjustments to saturation and vibrance. It comes a lot closer to what I want. I have found that the D2X mode 3 will sometimes soften the shadows and give me a better result. But basically, you just need to experiment with the different profiles to see what they do. Eventually you will come to know when to turn to them. It's a pretty simple concept.

Very interesting and informative post-LR/ACR Camera Profiles

This post by Eric Chan from Adobe is very imformative and reveals the reality of processing of raw files not only from Adobe's perspective but for all software that processes raw files from digital cameras. The thread is concerning Adobe's processing raw files from a Panasonic Camera model in comparison to the Camera's JPEG rendition.
"Sorry for joining this thread late.
Unfortunately this is a limitation of our current color profile process. This limitation actually applies to all of our camera models that we support, not just Panasonic. What is happening is that the color transform we've built is optimized mainly for daylight and incandescent light conditions, but when applied to scenes with bright light sources (especially neon lights, and especially blue/purple lights), the transform will tend to oversaturate and clip those colors.
My team is investigating how to build better profiles going forward, but in the meantime, my main suggestion is to try reducing the Red/Green/Blue Saturation sliders in the Camera Calibration panel (not the HSL tab, and not in the Basic panel). This will help to reduce the oversaturation and clipping, and will give you a better starting point for further edits (Exposure, Contrast, etc.). As a shortcut, you can store your Red/Green/Blue Saturation slider adjustments as a preset that you can then apply quickly to other images you have that show the same issue."
Link to the actual thread.
http://forums.adobe.com/thread/1254354?start=40&tstart=0

My Nikon D80 and D90 don't look the same and I have run comparisons between the Canon 7D and the Nikon D90. Taken together, they all different from each other.
The biggest difference between the D80 and the D90 seems to lie with the much larger dynamic range of the D90. Compared to the D80 at first glance, the D90 seems washed out at the lower values. This is easily overcome in ACR, but even with that, the subjectivity of the reproduction sometimes gives a nod to one over the other.
The closest film comparison is Fuji Astia vs Provia. The D90 at default Nikon Camera Standard resembles Astia, while the D80 is a cross between Provia and Velvia. All this is controlable. One slider I use to enrich the D90 presentation is the black slider
The Canon has other undefined differences which I have simply noted by viewing. I haven't engaged in any tweaking of that camera's images.
So I'll use both the D80 and the D90 according to what I am wanting to happen. Of course, there are times where the differences simply inform the operator of what may be doable, and then one is tweaked to look much like the other.
I checked out sprengel's links to the calibrator software. They have stopped at CS3, it seems. How does it perform with CS5? I may want to at least run a calibration of both cameras and look again.
And, of course, Adobe Standard and Nikon Standard do not agree. At all. So, when is a standard not a standard?
When there is more than one.
Looking back at your post, I should specify that the profile I used when making the comparisons have been the Camera standards, not Adobe Standard.
Message was edited by: Hudechrome

ACR camera profile and 5d2

Noticed that the ACR profile is not available for my 5d2 images, not in the list at all. I've always had the odd image where it was the best fit, not a big deal, but wondering why it's gone. It's still there for 40d captures.

MikeLeone wrote:
On Tue, Oct 20, 2009 at 6:24 PM, bceugene <[email protected]> said:
AR is not used by LR at all. the code that makes up ACR is included
within LR. You don't have to have ACR installed at all, for LR to
develop RAW images. The two are not dependent on each other.
That being said, LR 2.5 includes the same code that is in ACR 5.5 -
IOW, that is the latest RAW support.
But they share common profiles in common folders, don't they?

ICC Camera Profiles?????

Why does Lightroom not support ICC camera Profiles? How can we preach "complete color management" when we don't START color managed? I realize you can calibrate your camera, which builds a crude profile of sorts, which is a great shortcut for many people who do not want to go to the extent of creating actual camera profiles. But why does it not support full blown ICC camera profiles?
I have built my own profiles using the Gretag MacBeth system that are gorgeous. But the only raw file converter I find that utilizes them is Capture One.
Can this be built into an update??

Nicholas, I won't totally argue with you. But I can tell you that in daily practical application, after making an accurate white balance adjustment, one profile DOES make a huge difference. I preach not just from a theoretical standpoint (which certainly IS argueable), but from a serious useage standpoint. I shoot about 750 portrait images a day (www.boxseniors.com is one of our websites). Our "look" which is in demand enough to keep us booked up to 10 weeks in advance, is a very saturated, rich and warm (skin tone range) manipulation of a "true and accurate" profile.
I have spent a great deal of time achieving this look and it makes me a great deal of money. I am not in the commercial "reproduce it exactly right" business. And I am frustrated that Adobe chose not to impliment a starting point to an otherwise complete color managed system. I work in a set color space. I have a profiled monitor. I create my own printer profiles. Everything is managed EXCEPT the input with Lightroom.

LR 4 Camera Profiles Limit?

Is there a limit to the number of profiles that can be added to Camera Profiles in LR4? Presently there are 9. I added one via the Library/AppSupport/Adobe/ACR/Camera profiles route where it appears. It does not appear when Camera Profiles are opened in LR4 however. Thanks.

The first post in that thread shows you how to command line it so that it is no longer hidden as well as the [Opt] Go method.
That aside, did you get your profile placed and can LR see it now?

Why are there only three camera profiles listed in ACR?

I shoot with a Nikon D200 and shoot in RAW and have seen a tutorial or workshop where under the camera calibration tab, they have all different kinds of camera profiles like Camera vivid, or portrait or landscape or neutral etc. Well when I go into mine, there is just ACR and one other one. How come I dont have those other camera profiles so that I may get that jpeg processed look if I need to? Please help, I've been through all the preferences and everything, so I appreciate everyone. Thanks!
Nate

Looking on my Vista machine, which has Photoshop CS4/ACR 5.5, LR 2.5 and LR 3.0 on it, I see all the D200 profiles. Check to see if you have them or not:
C:\Users\All Users\Adobe\CameraRaw\CameraProfiles\Camera\Nikon D200
10/08/2009 02:49 PM           112,134 Nikon D200 Camera D2X Mode 1.dcp
10/08/2009 02:49 PM           112,134 Nikon D200 Camera D2X Mode 2.dcp
10/08/2009 02:49 PM           112,134 Nikon D200 Camera D2X Mode 3.dcp
10/08/2009 02:49 PM           112,134 Nikon D200 Camera Landscape.dcp
10/08/2009 02:49 PM           112,132 Nikon D200 Camera Neutral.dcp
10/08/2009 02:49 PM           112,132 Nikon D200 Camera Portrait.dcp
10/08/2009 02:49 PM           112,132 Nikon D200 Camera Standard.dcp
10/08/2009 02:49 PM           112,130 Nikon D200 Camera Vivid.dcp
You might just search your entire hard drive for D200.dcp and see if they are somewhere else.
If you can't find them, then there is a profile-installer executable that is part of the Photoshop Elements Camera RAW 5.5 Update zip that is linked from the camera-raw update page.

What is a Profile Mismatch and why does it always show up?

b Question
Every time I open a file I get a prompt which reads: Embedded Profile Mismatch.
Embedded: Camera RGB Profile
Working: Adobe RGB (1998)
I always choose the default, which is the "embedded profile (instead of working space).
I have no idea what any of this means. I know that it started doing this after I chose something recommended in a Photoshop book.
Can someone please show me how to get rid of this prompt and point me in the direction of information that will help me choose the best profile?
b Answer supplied by Richard Rose
First the good news - your work flow is Color Managed.
Now the bad news - You have no idea what that means, nor how you are achieving that desirable situation.
You really need to start at the beginning and learn what color management is all about. For some reason lots of people get very confused and mislead trying to wrap their brains around the subject. It's really quite simple.
There are many named "color spaces" in which to work in Photoshop. you have chosen Adobe RGB (1998). You chose that color space in Photoshop CS under "Color Settings."
That's a good "general purpose" color space to use. It's very useful for workers preparing images intended for color reproduction in print (on a printing press). But it'll do for almost any use you have for your images. If your images are destined mostly for the Web, working in sRGB might be good. (I recommend just staying in Adobe RGB 1998)
The "short answer" as to why Photoshop needs to work in some particular "color space" is that the program must "translate" colors from their source (a digital camera, a scanner, a a graphics program) into a destination (display on a computer monitor screen, a particular printer, output for printing press reproduction, etc).
There are many compromises that take place in that translation process, and the requirements for all the possible conditions that must be satisfied (hue, saturation, how light or dark the image appears) cannot always be met. Something has to give somewhere.
Named color spaces (Adobe RGB, sRGB, Color Match RGB, Ekta Space, etc) make a number of assumptions and decisions about how color translations (conversions) should be carried out before Photoshop ever gets its hands on the image, and makes it much easier for Photoshop to carry out the conversions and maintain accuracy in converting (for instance) from a digital camera's idea of an image to the needs of your computer monitor (so you can see an accurate resemblance of the image) to the needs of a printing press, so that the image looks correct in a magazine.
The conversion process is carried out with the aid of "profiles." A profile is a set of data that is embedded in an image file that describes to any program that wants to read it, what the image data means in terms of color.
Without the profile, your digital camera's RGB file simply contains arbitrary RGB values. Yes, a particular pixel with high R values will be reddish, and another pixel with high B values will be blue, but the actual red or blue of those pixels as they relate to the original scene is unknown. The camera profile embedded in your file lets Photoshop know, to a high level of accuracy, just what hue of red, and just how much saturation is present, and how light or dark the red was in the scene. The profile's coding of this information is based on a color measurement system called CIE which uses several different mathematical models to carry out some VERY complicated computations. There are CIE Lab models, CIE XYZ, and others. These models are as close to an "absolute" color reference system as we have.
Thank God you are using camera files that actually have profiles! When you open such a file, Photoshop is "warning" you that the image information is in a color space other than the default Adobe RGB space. You told Photoshop to warn you about such "mismatch" when you set Color Management Policies in the Color Settings section.
Photoshop is telling you that "something" needs to be done. It can honor the camera's color space, from it's own frame of reference (Adobe RGB 1998) and work on the image, accurately handling the color information for screen display and eventual output. That's what you tell it to do when you "accept" the embedded profile. That's not bad, everything will work correctly, because Photoshop will have made internal conversions that remain active as long as the file is open, but there is something you have to keep in mind - when you save the file, Photoshop will save the original camera profile with it. Then if you open the file again, the same "warning" will occur.
That camera profile is as valid and useful as any other profile, but because it is not a commonly recognized color space may cause a problem in some other workflow. (Notice I said MAY. ICC color profiles SHOULD be ok in any program)
It is probably better to choose "Convert to working profile" on opening the file. From that point on, nothing will appear different to you, because nothing has really changed. Photoshop will handle the file as it did before, internally converting the color information as necessary with regard to its working space. But when you save the file, the Adobe RGB 1998 profile will be embedded in it. If you re-open it, you will get no mismatch warning, and the file will be recognized by most other image handling programs as having a "standard" color space.

Thanks! I still don't understand the concept of "saving power" in this context. Does that relate to a laptop running on battery, and some popups consume more battery power? Or does this refer to CPU capacity? I have never had any issue that I know of in these areas. I would understand the warning if it cautioned me about insufficient bandwidth, but that doesn't seem to apply here. In any case, am glad to find that this is a feature and not a bug.
Stan

Custom camera profiles have stopped appearing in LR4.3/ACR 7.3

Really odd... I've been using custom profiles that I created using a ColourChecker Passport for sometime now. I just updated LR and ACR to the latest versions, and I've noticed that they are no longer selectable under the Camera Calibration tab - I just get the standard list of profiles for my camera (Nikon D7000).
I checked in the the relevant folder for LR and they weren't there, but they are in the ACR folder. I copied them across to the LR folder as well, but this has had no effect. In both cases, they're in the root-level folder for all profiles, so in LR's case, they're in C:Program Files/Adobe/Adobe Photoshop Lightroom 4.3/resources/CameraProfiles. This is where both the CCP and Adobe DNG Profile Editor have previoulsy placed them by default - I've never needed to place them in the actual camera model folder itself. Both applications have always found them there without issue.
Anyone else had this problem since upgrading, or have a solution?
M

OK- I am being a total dummy and need some help, please. I have put the KM7D and Sony A700 camera profiles in the above mentioned places
C:\Users\<yourusername>\AppData\Roaming\Adobe\CameraRaw\CameraProfiles
C:\Program Files\Adobe\Adobe Photoshop Lightroom 4.3\Resources\CameraProfiles\Camera
AND am still not seeing them in either PSE11 or in LR4.3
I also installed CR 7.3 and DNG 4.3 per the Adobe forum.
So, I guess either it is not working or I am looking in the wrong place in PSE11 and LR to find them.
I assume in LR I should be in Develop and I look on the right side under Camera Calibration and try to pick it there somehow. If not- where? Where would I find this in PSE11?
I also tried a little experiment. I have my profiles in
C:\Users\SRose\AppData\Roaming\Adobe\CameraRaw\CameraProfiles\Sony DSLR-A700
and I renamed "Faithful" to Faithfula700" and then opened Lightroom and went to Camera Calibration and only Faithful was there- no Faithfula700. So, either LR truncates the file name or there is some internal name in the dcp files that LR uses or these profiles are not being recognized.
Sorry to be such a noob- everything else I know how to find and LR help was none at all.
Thanks
Steve

ACR 5.7 can see camera profiles in Bridge CS4 but not in Lightroom 2.7

When utilizing ACR5.7 through Bridge CS4 - the cameral profiles are easily applied for my .NEF files (Nikon D300) but when I am in Lightroom 2.7 the camera profiles are not available unless I convert the nef to DNG. I have tried to search the web and these forums but I am unable to locate the answer to my problem:
Why can't I see the camera profiles in Lightroom for my nef files when I can see them through Bridge.. (both running ACR 5.7)
Windows XP xp3
Lightroom 2.7
Bridge CS4
ACR 5.7
Nikon D300 profiles
Thanks for the help.
NGG

For those who might be reading this and having "odd" problems .. my solution was to delete my preferences file.
http://lightroomers.com/replacing-the-lightroom-preference-file/745/
This solved several odd issues I was seeing in my lightroom including the camera profiles..

ACR 5 - Support for Custom Camera Profiles

ACR 4 allows users to select from a list of four device-independent colour spaces (Adobe RGB 1998, ColorMatch RGB, ProPhoto RGB and sRGB). Unlike other RAW processors, it does not allow selection of a custom camera profile. This capability is very useful when colour accuracy is of considerable importance (e.g. reproduction of art works). Does ACR 5 allow for selection of custom profiles?

When this question had been asked in the past the answer has always been, "No, because these choices are all that you need." This may seem to be a rather close minded answer. But in reality the Prophoto color space encompasses everything else that is available. So the solution has been to do all of your work in ACR in Prophoto and send the image on to Photoshop in that color space. Then convert to the desired color space in Photoshop.

Cannot see ACR 5.3 update in the Camera Profiles on CS4

I'm using CS4 on Windows Vista 64. I have tried the manual installation process multiple times before and after re installing CS4. I've tried the AUM with no results good or bad. I know there are two Camera Raw.8bi files that have to be installed in Vista 64 and I've been very careful to get both of the correct files to the correct destinations - I've gotten a lot of practice at this. There have been no error messages. One thing Bridge is doing now is that when I open an image, it opens it in Elements 7, which I upgraded from. When I close PSE7 and reopen the RAW file, it then opens in CS4. My big concern however is not seeing ACR 5.3 in my Camera Profiles. Any thoughts for a non-techie?

Robert, I am having a similar problem with Elements 6, in my case I have installed the 8BI file on my desktop, and I can see all the options Jim describes in camera profile My camera is Nikon, so those are the options I should get. But on my new laptop, all I get in camera profiles is ACR 4.4. I originally downloaded the most recent camera raw update to the laptop, but when that didn't work, I copied the 8BI file from the desktop to the laptop with a memory stick, and I still get the same results - no options. Camera raw on the laptop does recognize my camera, and lists it at the bottom of the preview screen, but it does not populate the options in camera profile.
I distrust the answer you got from FAQs, because my camera did not exist at the time ACR 4.4 was released, and it really does not explain why I can't get the same camera profile selections on the laptop as I do the desktop. Both are Dell, Vista 32. Both are PE 6. Both are the same camera, and now, the same 8BI file. And both show ACR 4.4, The 4.4 doesn't bother me, but I want the camera options on my laptop.

Camera Calibration in ACR & DNG Profile Editor

I am having the hardest time figuring out how to use the camera profiles generated with DNG Profile Editor in Camera Raw.
I am using Photoshop CS4 in Windows 7. I have generated the .dcp file with DNG Profile Editor and saved it in the folder: Program Files/Adobe/Photoshop CS4/Presets/Camera Profiles.
This is about as far as I've gotten. I have not been able use this profile in ACR under the Camera Calibration Tab. I have been lead to believe that is would show up automatically. I have not found any video tutorials related to ACR and installing Camera Profiles. They all seem to relate to Lightroom.
Any help would be greatly appreciated.

If you would like to look or copy profiles manually (for example you have received a profile made by someone else; for Windows7 you should be able to see where the Profiles are stored by searching for *.dcp (meaning any file with the extension .dcp)
That will show you where the Adobe supplied profiles are located. You can copy your custom profiles to the sub-folder of your camera type in the Camera folder.The other folder you see is where the Adobe Standard profiles live.
If you cannot see the programdata folder (and that is the case by default) you can make all hidden files visible:
(this from Windows Help, just search for show hidden files)
Computer>Organize>Folder and search options>View. In Advanced settings check the radio button Show hidden files, folders, and drives and then OK
Now you should see the programdata folder visible under your system (C:) folder
I hope that helps.

Camera Profile Default in LR2--Problems

I downloaded the camera profile betas and Camera Raw 4.5. When working with a Nef, I set a beta camera profile in LR2. No problem. When finished I open another NEF--same thing. Reverts to 4.4 default. Is there no way to make that sticky?
Also, each time I open LR the default profile is Camera Raw 4.4, and I have to reset it. Nefs are all I am testing LR2 with, shot with a D300. How do I get a sticky profile. What am I missing?
Also, since I have Camera Raw 4.5 installed, shouldn't that default to 4.5 instead of 4.4? 4.3 is also on the list, but not 4.5. Why isn't 4.5 available? Have I done something wrong?

[email protected] wrote in
news:[email protected]:
> I downloaded the camera profile betas and Camera Raw 4.5. When working
> with a Nef, I set a beta camera profile in LR2. No problem. When
> finished I open another NEF--same thing. Reverts to 4.4 default. Is
> there no way to make that sticky?
>
> Also, each time I open LR the default profile is Camera Raw 4.4, and I
> have to reset it. Nefs are all I am testing LR2 with, shot with a
> D300. How do I get a sticky profile. What am I missing?
>
> Also, since I have Camera Raw 4.5 installed, shouldn't that default to
> 4.5 instead of 4.4? 4.3 is also on the list, but not 4.5. Why isn't
> 4.5 available? Have I done something wrong?
Try opening ARC with no photo, set the profile to what you want, and save
it as the default setting. I know I've left out the details, but the
general idea should work.
John Passaneau

Default ACR camera profiles always criticized: why?

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