Questions re: ACR 6.7

I normally don't install RC versions of ACR so I hope maybe some of you that have or someone from Adobe could satisfy my curiosity:
Since 6.7 is compatible with the new 2012 process engine, is there any real advantage in using that from LR4 in comparison to just having LR4 render a TIFF? Since I am assuming that ACR 6.7 does not actually give you access to the process 2012 controls, you presumably can't use it as a Smart Object with 2012 controls either so what's the point?
Just seems strange they included both the new camera support and the new process engine. I guess maybe it was easier to do that than to strip the new process out?

ssprengel wrote:
LR4 was released before CS6/ACR7 so Adobe built the PV2012 rendering engine into ACR6.7. ACR 7 with CS6 will have the PV2012 controls.
As far as creating an intermediate TIF vs having ACR render the data directly into PS, I prefer not to have an intermediate file I have to delete nor the extra time to create then read that file, and would rather not have an output colorspace truncate some colors from my RAW rendering on the way to Photoshop, either.
I can understand a little bit not wanting the intermediate file if after your edits in PS you customarily save somewhere besides the source directory and I can also see a tiny difference in time between "CR2>rendering and saving TIFF>reading TIFF into PS" and CR2>rendering and reading into PS". Unless you are using Smart Objects though (and that is presumably not an option using ACR 6.7), you are going to be truncating to the working color space either way.
Anyway, thanks to all those that replied. I just wanted to check to see if there was something "magic" there with ACR 6.7 that I was missing.

Similar Messages

A few questions about ACR / windows. Newbie here, please help :)

1. How do I "un-do" any edits that I have done in a.c.r.? I made some white balance changes and synched a group of photos but then realized it didnt work for all of them. For the life of me I cant find any way to get rid of the adjustment that is now attached to those images?
2. Also when I have made some adjustments that I like, I thought that they were suppose to show up on my images? I see the save button on the bottom left of acr but when I do that it actually saves a copy. I dont want it to save a copy, I just wanted my adjustments to be attached to the original (in the sidecar as Ive heard some of you say).
Any suggestions as to what I need to do. Thank you K

If you right click on your raw files in Bridge, one of the options will be to "Clear Camera Raw Settings". If you highlight more than one image, you can clear the settings on all of the images at once. Another option is to hold down the Alt key while you are in Camera Raw, and one of the buttons will change to "Reset".
When you have finished working on a raw image in Camera Raw just click on the Done button. That will return you to where you were previously, and the changes you have made should be visible.

Lightroom to Photoshop questions and ACR problems

I have Lightroom 5 and Photoshop CS5.
I've been working between the two with no problem until recently.
When i move a photo from LR to PS5:
1. I get the message that "This version of LR may require Camera Raw Plug in version 8.5 for full compatibility. Please update...."
When i go into PS it says no updates available.
2.When I move the photo anyway from LR to PS5 the file is blurry. Slightly off definitely not the same.
Help
Thanks

Anyhow: Please look here: Re: Photos from Lightroom 5 to Photoshop CC (2014) and back...

Question about ACR sliders: What exactly do they do?

Hello forum, my first post here. I have been using PS off and on for many years for very basic things, cropping, color adjustments, cloning with layers, ect. While I tend to dislike adjusting my tones too much, I have grown interested in knowing exactly how the sliders affect the image. I understand EXPOSURE essentially raises the exposure of everything, and I heard HIGHLIGHTS and SHADOWS affect only the extremes of either end. But is the above true, and, what do BLACKS and WHITES do? FYI I have CC and am up to date. Just wondering if anybody can offer some technical explanation to the sliders. Thanks in advance!

Hi Amanda. Best advice I can give is to closely watch the Histogram as you adjust the sliders.
Black is where all three channels have a value of zero, and white is were all three channels have a value of 255
Shadows will affect tonal values between zero, and something like 50,50,50
Highlights will affect values between something like 200,200,200 and 255,255,255
Note I am gestimating those figures.
Contrast will reinforce the shadow end making shadows darker, and do the reverse at the highlight end. If you understand Curves. it is like add an S shaped curve to am image.
Clarity works similar to Contrast, but whereas Contrast will block up the blacks pushing low tonal values further towards full black, and do the opposite at the other end of the histogram, Clarity reinforces the low tonal values without moving them towards full black, and the revers for highlights. Clarity is one best seen visually by watching the histogram.

Lightroom 5.7 not opening Photoshop CC2014 - says it needs newer ACR version

Hello -
Well, a new problem has come up. I've got a CC membership, and all current versions of Lightroom, PS CC 2014, PS CC, and PS CS6. ACR version currently installed on the system is 8.7.1. System is Windows 7.
All was working a-okay until today. Now, when I try to open a RAW file from Lightroom into Photoshop, I get the following error message:
"This version of Lightroom may require the Photoshop Camera Raw plug-in version 8.7 for full compatibility.
Camera Raw version 4.6 is the latest version available for Photoshop CS3. If raw file support for your camera was introduced after Camera Raw 4.6, the Photoshop integration features in Lightroom require Photoshop CS4 and the latest Camera Raw version 5 plug-in.
The version of the Camera Raw plug-in currently installed is 0.0"
And then it prompts me to cancel or open anyway. Opening either fails or prompts me to create a new PSD file within Photoshop and does not open ACR in Photoshop. When I select multiple files to photomerge (which I do a lot for panos), opening in Photoshop fails completely.
Well, as stated above I have all current versions of the software installed. In attempts to rectify the problem I uninstalled and reinstalled Lightroom, separately downloaded and reinstalled ACR v8.7.1. Photoshop CC pop up menu indicates all software is up to date.
I have no idea what is going on or how to rectify this issue. Any and all help is appreciated.

Hello - I have tried opening the image either the pull down menu function, or right-clicking and selecting "edit in" on the menu that appears. I do not use ctrl-e to open. Here are screen shots that show the edit selection menu and the resulting "wrong version of ACR"
message. As you'll see, I am attempting to open the image in PS CC2014.
Regarding the other question about ACR 8.7.1, Adobe offers this as a separate download that I found on their site. Assuming the Adobe CC automated installation of newer software versions went awry for some reason, I downloaded this and installed it separately.
I am now going through the process of uninstalling and reinstalling LR and PS softwares to see if a full reinstall resolves the issue.

JPG file size differences in ACR and PS

Camera: Nikon D80
Photoshop: CS3 Extended v.10.0.1
ACR: version 4.3.1
Saving from ACR, Q=9 -> 1,2Mb
Saving from ACR, Q=10 -> 1,8Mb
PS, Q=11 (no thumbnail) -> 3,1Mb
PS, Q=11 (with thumbnail) -> 3,1Mb (no difference)
PS, Q=12 (no thumbnail) -> 5,8Mb
PS, Q=12 (with thumbnail -> 5,8Mb (no difference)
Save for Web, Q=90: 3,7Mb (larger than PS/11)
Save for Web, Q=100: 5,8Mb (same as PS/12)
1.) Why ACR saves much smaller files?
2.) Why there isn't difference when saving with thumbnail or not?
3.) Why the different methods?
4.) Is any of them better? If yes: why the other? If not: why does it exist?
Saving from ACR produces much smaller files than any other known RAW converter. I've tried Bibble, Lightroom, CaptureNX, DxO and all of them created nearly the same size as Photoshop does. So the most important question: why ACR creates so small JPG files?
Thanks in advance!

Huhh,
the question isn't stupid, just seems a little bit strange in my point of view. But you're right, i must confess. So halfway i am the stupid, not the question (and not the software).
But when i choose 'maximum' in ACR it gives me the 10, and i thought maximum is the maximum. For me it tells about the highest possible quality. There is no value bigger than the maximum.
I've never realize that in PS the way is exactly the same like in ACR! In PS the maximum is 10 too!! I'm always enter the value by the keyboard and never choose a preset. And in PS there's a slider showing the full scale and the entered value, so on that i can see that there's life after the maximum. in ACR the missing slider suggested me that 10 is the top level. But now i've entered 11 and 12 and gave the same sizes as i gave from PS with 11 and 12.
So i can conclude that the GUI of ACR isn't perfect (OK, i *must* now it uses the same engine/values like PS), but the method behind the scenes is perfect, like in PS. Sorry for the trouble and thanks for the very fast answer!

ACR and Canon DPP

Another question about ACR from the same greenhorn:
Is there a way to get ACR to recognize changes made to a CR2 file in Canon's Digital Photo Professional? I have a bunch of CR2s with retouching and color/etc. corrections made in DPP that I would like to convert to DNGs, but I really don't want to redo all my edits in ACR.
Thanks again,
Andrew Slayman
P.S. I am using ACR 4.4.1 with PS CS3 on Windows XP.

No.

ACR color mode defaults

raw captures do not use the camera settings. It records them in the EXIF data.
ACR uses the EXIF data when opening a raw capture. This is painfully obvious when it comes to white balance if it has not been set properly at capture time. Not a problem, that can be modified the EXIF WB is the starting point.
The questions concerns the color mode:
If set at sRGB at the time of capture, does ACR uses the camera EXIF setting (sRGB) as it does for the white balance?
If so, should not color mode be a choice BEFORE opening the raw capture in ACR?
The 'no question asked', EXIF color mode data opening is troubling as sRGB cuts the gamut quite a bit. All edits are made in the sRGB mode. Setting the 'open as 16 bit RGB' only opens a 16 bit sRGB image as if it was a 16 bit RGB, meaning there is no color in the suddenly re-opened gamut space since the original color data has been killed when opening the file.
Last question:
What am I missing here?
Message was edited by: Jacques V, 'wording'

The answer is bad....
This is the transcript. It confirms what I suspected.
Thank you for contacting Adobe.
A representative will be with you shortly.
You are now chatting with Abhishek Joshi.
Abhishek Joshi: Hello. Welcome to Adobe Technical Support.
Jacques V: This is a two pronged question that concerns ACR and raw. Background A raw capture does not use the camera settings but records them, including white balance and color mode. ACR uses that recorded data to import the raw image as illustrated by the 'default' that reflects the original color balance. Questions: Does ACR uses the color mode recorded as camera setting when importing the image? If so, is there a way to override that import setting in ACR? My concern is that if ACR defaults to the camera settings the potential color gamut is ignored and one of the advantage of the raw format is severely limited by ACR as the raw format allows for a color mode change.
Abhishek Joshi: I will check it first
Abhishek Joshi: I am checking on this please provide me 2 minutes
Jacques V: Ok
Abhishek Joshi: Thankyou
Abhishek Joshi: Thank you for your time and patience
Abhishek Joshi: ACR information is derived from your RAW picture
Abhishek Joshi: If you do ACR default it will take the picture to the original state
Jacques V: Meaning it will use sRGB?
Jacques V: (as it was the camera setting, even if not used when recording the raw caprture)
Abhishek Joshi: You clicked the picture in sRGB ?
Abhishek Joshi: What ever the profile you chose in camera while capturing the picture
Jacques V: Ok then. In this case we eidt the raw file in sRGB and the export to PS CC is whatever is set in the option link in ACR. Am I correct?
Abhishek Joshi: Correct
Jacques V: Thank you. Not good news but a good information to have.
Jacques V: Good bye.
Abhishek Joshi: Your welcome
Abhishek Joshi: BBye

Love Lightroom Camera Profiles. Could we get more?

Loving the Camera Profiles for Sony cameras in Lightroom and Adobe Camera Raw. Would it be possible to add them for Sony A900, A850 and A700 in the next Lightroom and ACR updates? Thank you!

Brian Smith Photo wrote:
Many Sony users have asked why Lightroom and Adobe Camera Raw doesn't read Sony Creative Styles embedded in RAW - thwse camera profiles offer a very nice response to that question.
ACR and LR don't support this capability with any camera model, and it's not likely to be added in the future. What Adobe has done is provide "emulations" of the "Camera" picture styles for some camera makes and models, which can be manually selected and applied. You can do a search here and at Photoshop Family Customer Community for posts on camera picture styles and add your vote, or even add a new request.
The OEM's picture style "recipes" are designed to work specifically with the their raw converter and not ACR/LR. The Adobe Standard camera profile and ACR/LR Develop default settings are designed to make camera raw images look nearly identical regardless of camera make or model (i.e. "Standard").
Brian Smith Photo wrote:
Those are someone's custom profiles which are fine but they are not the Sony Creative Style profiles. The screenshot above shows Lightroom profiles for A7-series cameras.
What I read at that site:
I've photographed, under the direct sunlight, a 24 color GretagMacbeth / X-Rite table, then, after converting the RAW to DNG, I've created the standard color profiles with Adobe DNG Profile Editor. Starting from the standard profile and using as reference the "non standard" Nikon, Canon and Leica's profiles, I've created the creative profiles.
Based on the procedure he used these camera profiles may as good or better than Adobe's. They are both emulations created using the Adobe DNG Profile Editor. I can also tell you that neither profile (Adobe's or his) will perfectly "match" the picture style of an in-camera JPEG or raw file processed with the OEMs raw converter. It may be close....but no cigar! I use a ColorChecker PassPort created profile with all my Canon DSLRs, which I find is a better "starting point" than Adobe Standard–YMMV. I also rarely if ever use the "Camera" profiles, which usually require using different Basic panel settings. The one exception is 'Camera Faithful,' which I sometimes use for revealing fine tonal and color gradations (i.e. flowers).

Camera & Lens Profiles

Can anyone explain the differences in the Camera Lens Profiles in ACR and the Lens Correction Filter in Photoshop CS6.
Reason I ask is my D800 and Nikon 14-24mm lens is detected and correction applied in ACR, but the same camera and lens combination is not recognized in the Photoshop lens correction filter. The D800 is nowhere to be found. But interestingly the profiles for the D4 are
Many folks have asked in the past when the D800 and Canon 5DM3 would be supported but all the attention has been focussed on ACR, so when will these profiles be available for Photoshop Lens Correction?
Cheers
MK

There is no question that ACR provides the Camera/Lens Profiles - this thread is why there is a difference between the Lens Correction built into Photoshop CS6. Many camera and Lens combinations supported by ACR do not show up Photoshop's Lens correction - like the D300 is missing, the D800 is missing - but all there in ACR.....
What I was hinting at was why is Photoshop not using the same profiles as ACR? Seems strange and more convoluted support model
Mike

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

Switching From Windows To Mac: ACR Database, Bridge Cache Questions

I am planning to switch from Windows XP to the Mac running Leopard. I am now running CS2 in Windows, but will upgrade to CS3 on the Mac. I am maintaining my RAW file settings in ACR central database and my Bridge cache in a centralized cache file. I've searched the forums but couldn't find answers to my migration questions: 1. Can one move the ACR database file from Windows (in folder C:\Documents and Settings\<username>\Application Data\Adobe\CameraRaw) to a folder somewhere on the Mac to preserve the settings on RAW files that are also moved to the Mac? Or does one need to export individual XMP files for the RAW files in Windows and move both the RAW files and their associated XMP files to the Mac? 2. I have a similar question for migrating the Bridge cache from Windows XP to the Mac. Can one somehow move the Bridge cache over (I think it's in C:\Documents and Settings\<username>\Application Data\Adobe\Bridge\Cache\Thumbnails\) or do I need to export the cache for each folder and subfolder and move them over along with the folders and subfolders? I would appreciate any help or pointers to any Adobe documents or directions. Thank you.

Man-Kong,
Since you said that you were also migrating from CS2 to CS3 I would have said that their cache files were incompatible. That is what I experienced with CS1, CS2, and CS3 in the past. But Thomas indicated it should work. I must be missing something.
The XMP files move fine for me. The local cache (folder) files have completely different names with each version and I see no evidence that they can be shared. This is also a problem with archived CDs. CS3 always has to rebuild cache if they were archived from CS1 or CS2.
Since the central cache must have some folder references, and this structure will be completely different on Mac, I dont see how it can work. It doesnt work for scripts or actions either.
So my humble recommendation is to set your preferences to store cache and XMP files in the local folders where possible. Then simply bite the bullet. Each time you visit a folder for the first time in the new environment, cache will be rebuilt.
Cheers, Rags :-)

ACR 6.0 Grain Question?

I am a professional fine art landscape print maker. My question is about adding grain in ACR 6.0. I do most work in ACR with some capture sharpening there, a touch of color noise reduction and no luminance noise reduction (all images are ideally exposed at very low ISO). I then do fine tuning in PS (now CS5). Speed of workflow is of no concern. Quality is the highest concern. I interpolate using Bicubic Smoother (lets not argue about that...). I make very large high end laser (light-jet) silver halide (flex) super gloss prints. After interpolation, the last major step in my workflow is always extremely advanced custom sharpening. I am just starting to get into adding grain, and will be doing test prints shortly.
The question(s):
It does not seem like the best time to add grain (in ACR 6.0) considering my workflow. It seems that the best time might be after interpolation, and right after the sharpening. Why would I add grain that would then be interpolated considerably, and then sharpened? Is sharpening digital "grain" a ideal way to develop an image? If my intuition is right here (maybe I am wrong) maybe a trip back to ACR with the giant finished, sharpened, TIFF would be a good idea? Or is the grain making abilities of PS (CS5) as good or better than ACR 6.0? Maybe I am way off on when the best time to add grain to my workflow is?
Thanks!

I posted this a long time back, and now that I have done quite a few jobs (landscape
galley prints for myself and other clients - I do photo retouching professionally) I have to say that I really like the grain simulation in ACR. Once the enlargement is finished, sharpened and all that, I make a copy of it (Tiff) and send it through ACR and add the desired grain texture.
I just finished a 70" landscape for a client (on FujiFlex poly paper using the Oce Lightjet) at 200 ppi. I used ACR grain on a layer at Amount 500, Size 18, and Roughness at 35. Then once that grain layer was in Photoshop as a layer, I graduated it into the scene at about a 30-40% opacity to meet the images needs (of mainly disguising artifacts and creating an illusion of more fine detail but not creating a "graininess" look to the image) and erased it from the sky entirely. I viewed the image mainly at 50% but would also do some evaluation at 100%. Having the luxury of being a professional photo retoucher and having a clients images going to gallery almost daily has really allowed me to experiment with both PS grain and ACR grain techniques, and I can say I am impressed with ACR (as I always am).

More ACR for elements questions

After having played around with ACR 4.1 I have a few questions and observations:
Not all the the features described as being in 4.1 in this article
http://photoshopnews.com/2007/05/31/about-camera-raw-41/
seem to be accessible, e.g. holding down the alt key while looking at radius and sharpening values to see the masks applied. Are these features available from CS but not in elements (It's the same plugin) or were they never implemented in 4.1 but only in some beta copy of the SW?
As noted in different msgs, there is scarcely any documentation for ACR 4.1 except what I can glean from articles like the one above and from trial and error - am I correct in this assessment?
If I bring the raw file into elements, some of the functions can work on 16 bit files but for most I must permanently convert down to 8 bits. How much print quality am I losing for 11x14 blowups during this process? I guess I'm losing none in resolution (PPI) but a little in gradations of color and luminosity.
How does this raw pre-processing in ACR compare with the new Nikon Capture 4 ( I have a D40x) ? Is it worth having both sets of SW? I couldn't find a price for Capture4 in the website - only a 30 day download trial. Anybody have any idea how much it costs?
Now if I would only go out and shoot some more photos instead of nerding out on the tech stuff!! Thanks.
Chris

Thanks Barbara - you wrote:
Your printer will almost certainly downsample your image to 8 bits when you print, so you're not losing there. The loss, such as it is, is in the available gradations of color for editing.
Is this the case If I get it printed at a photo printing/editing store (we have Mtophoto here in CO which I really like because a couple of the guys there really know their stuff)?

ACR 4.2 Setting Questions

I recently took a series of pictures with the Canon 40D white balance set to
daylight. When I look at the white balance numbers in ACR they are not the
same for each picture.
Why is this?

Rob - I believe that OP did shoot raw, or ACR would not show him him color balance numbers.
Ramon - the question was not why his color looked different. It was why the color balance settings differed from image to image, given that they were fixed in the camera.
I believe that when ACR is set to "As Shot", then it should represent the color balance as set in the camera. In my experience, it has done this.
EmJayPrice - do you have the color balance in ACR set to "As Shot"? If not, that would certainly explain it.
David

Questions re: ACR 6.7

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