RAW Camera specific import pre-sets

Hi
I am new to Mac/Aperture2 and have tried a search, but would like to know what picture style Aperture assumes when adding pre-set adjustments to RAW conversions. The results look excellent, but I use Natural and the Camera's(Canon 1DMkIIN) default setting is Standard.Is the Picture Style set hidden in the Metadata? Thanks

in-camera sharpening does not affect raw files. aperture applies some sort of sharpening to raw files by default, but on jpegs this doesn't happen.
j

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I am having a new problem in IPhoto'11. An older camera is importing photos as 4x4 (16 copies to a single image). In the preview pane the photos are fine (single copy per image). I have tried disconnecting and reconnecting but the problem repeats. Earlier I had a successful import from a different camera.
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Sorry but I do not understand your question
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Camera specific WB next?

I think the new camera specific profiles are excellent and will move many new customer from camera made raw converters to LR.
It seems like LR manage to read the WB setting in camera and translate that to ACR WB numbers - very good! As shoot, Auto and White balance selector work as expected.
What still confuse many users are the difference in WB settings when you choose the other setting in the menu. Cloudy gives 6500 temp and +10 tint that is way of for my D300 with to warm WB and a strong cast of pink.
If I take a test shoot with my D300 set to cloudy in camera and import the picture LR shows WB values of 5650 temp and -1 tint... I've made preset for my camera and don't use the WB menu for this.
I would suggest that values for Daylight, Cloudy, Shade etc. should be camera specific and match the default values from that camera. Not equal in number, because the different vendors use different number system, but equal in color. Then Adobe would have removed another argument for not using ACR/LR.

> If I have 3 D300 and set all cameras to WB "Cloudy" in camera. Will LR/ACR give different WB values for each cameras when I import pictures from them?
No, or if it does, then that happens based on some mysterious circumstances.
I loaded six images by six different D300, shot with four different ISOs, under different illuminations. "Cloudy" means always (6500,+10).
> The Cloudy setting you get now is of no use
Are you talking of a scenery shot with "Cloudy" in camera and processed by ACR "As shot", or shot with whatever setting in camera and processed by ACR as "Cloudy"?
I suggest you to do following test:
1. shoot a grey card, sufficient large for WB template,
2. use that shot as WB template,
3. shoot the same card again.
Now compare the temperatures shown by CNX and by ACR. I guess they will not be the same; however, when processed in ACR "As shot", is the grey grey? If you pick WB on that spot, are the temperature and tint far from the "As shot" value? That is namely the only important issue, not the absolute numbers.
> and give a strong pink cast
IMO those settings are for JPEG shooters. Depending on the setting, shoot a white/grey patch for picking WB on (for sampling the reflected light), or use a "white disk" for sampling the light source.
Moreover, the fact, that clouds are over your head does not mean, that the actual illumination is "cloudy". Reflections from the surroundings change the illumination. I just tested this on images shot in the mountains with much green. It was truly "cloudy", but the setting "cloudy" resulted yellowish/reddish white objects and yellow greenery.

WB change with digital IR RAW file upon import, no presets applied

Hi all,
I was doing some digital IR work with my Nikon D50 and a wratten 89b filter. I had set the WB to green grass through the filter. I shot in RAW. Viewing on the LCD, which is, I think, using the embedded JPG in the RAW file, things looked good, with green foliage coming out as it should with the custom WB.
However, upon import, with no develop settings at all, the images basically "lost" their WB and went back to the magenta-looking images that you'd normally get with a daylight WB through the filter. The WB was set in LR as "as-shot."
Any idea what happened? I'll shoot some in JPEG today which will obviously lock the WB in-camera, but it was weird.
thanks,
allan

If the JPEG locks the WB for you, you could then, maybe, set the RAW to the same WB setting?
Then maybe a preset for WB might work?
Don
Don Ricklin, MacBook 1.83Ghz Duo 2 Core running 10.4.10 & Win XP, Pentax *ist D
http://donricklin.blogspot.com/

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Just a few things that tend to take a long time to render an updated screen view for me (i.e. I get a low quality jaggy preview and it takes up to 20 seconds to "sharpen up" and show the changes:
. ANY changes to the Raw Fine Tuning brick, especially in 100% view
. some brushes take a long time to render changes (skin soften and sharpening to name a couple) again, worse in 100% view
. noise reduction (worse in 100%)
. Edge Sharpening (worse in 100%)
. rendering a proper image after zooming 100% into a photo after it's been adjusted moderately with the above adjustments, or cropped/straightened. Also slow to render if scrolling around in 100% view.
Notice that the worst wait times tend to appear in 100% view, though zoomed out sometimes I still get the "loading" pinwheel. These are adjustments that I prefer (justifiably so) to do in 100% view but the lag is just terrible sometimes. Some photos are worse than others, and it tends to be worse as the adjustments pile up.
My equipment is listed in the sig, my MBPro tends to be a bit faster than the iMac. Before you ask, I've done all the standard performance enhancing things (previews settings, faces off, defrag etc etc etc).
I am using Canon 7D full size raw files (18mp, ~25MB files). A couple people in the other thread mentioned this sort of lackluster performance with their 7D files, and I've seen people with 5DMk2's complain as well. I wonder if Aperture has a hard time dealing with large raw files, specifically Canon raw files.
So informal poll, three part question:
(1) Are you experiencing slow downs in rendering of adjustments on your photos, especially at 100% view?
(2) What type of file from what camera are you using (i.e. large .jpg from Nikon D70, full size raw from Canon 1dMk4 etc)
(3) What is your computer set up?
I wonder if this is a trend, and am just curious to see if my wild theory has any merit.
I see no reason why my two machines run LR and PShop flawlessly and with instant graphical feedback of ALL adjustments, while A3 lags and chews on the adjustment for up to half a minute before showing me what my sharpening move did to the photo at 100%.
If it is some sort of trend, maybe it's fixable in a software update that might be forthcoming. I really, REALLY like Aperture 3, it's pretty much exactly what I want/need for a photo management/editing program (save for the lack of output sharpening, but that's another thread for another day :)) I just wish it was as snappy as the Adobe products with my 7D files.

I certainly think that the size of the file is a factor . My 5d MKII files (>20Mbyte) are slower than files from my S90 (around 10MByte ), but on my system configuration perfectly manageable and usable.
I think the file size, GPU memory/speed and memory in general are all factors that interact together to create what some see as lags and slow downs.
Sharpening and noise reduction is a fairly intensive algorithm to apply in real time ( I know, I have written code to do it in non real time and it's a lot of pixel sampling and comparing, computing ).
I have conducted extensive testing with Aperture 3.0 and for that matter Lightroom as well ( lot's of people point to LR as being much better and I'm fed up with the generalization ). The reality is, both programs struggle to keep up with the application of real time application of localized brush strokes with large files, especially when you have lots of adjustments applied. I have some interesting data comparing these things and might publish it one of these days.
I think Apple need to be realistic with minimum system requirements to run fully all of the features with programs like AP3. Sure, you can apply adjustments to a small JPEG when you only have 1GB of RAM of 128MB GPU RAM etc, but it's common sense that at some point when you files are 20, 50, 100MB you are going have an issue when you are attempting to overlay in real time multiple computations to an image.
I also think Apple has not yet optimized the code in this area. I have carefully monitored the number of processor threads, memory usage and CPU cycles when some of these things are being applied and, while I am not privy at all to anything under the hood with Aperture, as a fairly seasoned software developer of real time automation software, I think they have some tweaking to do, that will make this better for more people across a range of hardware and image sizes. At least I hope so! It will be interesting to see what the next update brings.
AP3 is really a very, very powerful tool and I liken it to the first and early releases of Final Cut in the video world. I remember lots and lots people complaining about performance with Final Cut - mostly it was the system setup, limited resources in the machine and not yet knowing the best work flow. I see the same trend on some of these threads with AP3.
No doubt in my mind Apple could have done a much better job of quality control here and I fear they bowed to pressures to release something early. For some the out of the box experience has been good for others not so much. I have no doubt they will get it right, but it doesn't help people having issues at the moment.
Just my 2-cents.

Photoshop 10 Save As removes Camera Specific Metadata

I have Photoshop 10.0 (Windows XP) and use it to edit my photos from my new Nikon D300 camera. I create and maintain my images in JPG format as a preference and have no plans of saving in RAW. My D300 includes 40 to 50 camera info/metadata elements including the camera and lens settings at the time the photo is taken. When I do a simple "Save As" in Photoshop 10 to a new JPG file (whether image adjustments are done to the source image or not), the new JPG file is stripped of about half or more of the original camera-specific metadata elements. Is there a Photoshop setting or Nikon/Photoshop plug-in that will force the software to preserve/retain the original metadata? (The Capture NX2 solution is not an option as the one key feature I use is Auto Levels - The Auto Levels feature in Capture NX2 washes out my photos to an undesireable state). Therefore, I need to continue using Adobe for the benefit of their better Auto Levels feature and I also use their automation heavily as I process 100's of photos at a time. The only drawback of Adobe right now is they discard most of the camera specific shooting data at the time of save. RAW is not an option as the file sizes are too large for my storage, sharing and usage needs.

You may need to define custom XMP data fields for the extra data, which is done in the XMP control panel in Bridge. Photoshop should respect these fields and retain matching info by transfering it to XMP. Possibly someone has done this already and may provide a template somewhere for download. If that does not work, then I would guess waiting for CS4, due to be released officially on September 23, or using Lightroom 2 wil lbe your only option.
Mylenium

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My Friend has a Canon 5d Mark 2 and the files will not import. it says it's an unrecognized format.
now when I shoot with my Canon rebel Xti in raw it will import them. does anybody know if apple will support the canon 5d mark 2 raw files in iPhoto? Or is there something i did not check in prefs to help import?

Hi. I've got a slightly different problem. I've just upgraded from Canon 20D to 5D and although the RAW files and JPEGs DO both import, the RAW files are no longer labelled 'CR' with the image number. There's just an image number, which duplicates the JPEG file number alongside. I've tried to find a setting in iPhoto9 prefs and also on the camera to add the CR suffix, but have not resolved this. I would like the RAWs to import with the CR tag, as with the 20D. Am I missing something...?!

How to Delete imported JPEGS after matching RAW files are imported as masters

Using a 5D Mark III and shoot JPEG (SD) and RAW (CF).
Aperture 3.5.1, using a managed library
Perviously, using a 7D so new to shooting JPEG and RAWs from an aperture Aperture workflow standpoint.
I know that i can import the JPEGs > delete images that do not make the cut > then import the matching RAW files in the import dialogue that correspond to the JPEGs in the Aperture Library.
I use the RAW files as my Camera Master images and once the RAW files are imported, the smaller resolution JPEGs are no longer needed or viewed in my normal edit workflow. I only need the JPEGs to quickly go through the images to find out which RAW files i need to import at a later time to increase the speed of import > edit > deliver.
My Assumptions:
1. Logic would lead me to believe that after import the user should see a stack like image representation with whatever file type is considered Master to be on top and the viewable secondary file type on the bottom. clicking on the image stack should allow you to see both file types as you would normally see with image stacks with the same files types. This is not the case... What am i missing here?
2. Logic again would lead me to believe that when i have the ability to delete one of the 2 image types as i do not need both in the end. After the import process is complete and RAWs are backed up, I want to delete the JPEG files as they are just taking up more space on my DAS drive array... There is no need to keep a duplicate of every file in both JPEG and RAW format. This is not the case as when i delete the JPEG or RAW, both files formats are deleted simultaneously. What am i missing here?
Problems: (correspond to Assumptions above)
1. I do not seem to have access to both images (JPEG & RAW) in a stack where i can expand and close the stack to see both? It seems like i only have access to the image type i have selected as Master? This seems counter intuitive to what the workflow should be as why would aperture 'lock the secondary file types away' so you can't easily view both file types as the same time for comparison?
2a. Reality seems to be that i do not have access to the JPEG and RAW image files. I can only see one at a time by selecting the images and choosing 'make JPEG master’ and then respectively... 'make RAW master', but you can't see both at the same time for file comparison.
2b. Also, I can't find a way to delete the JPEG images after the RAW files have been imported. I would presume most professional photographers shoot RAW and do not shoot JPEG as their camera master or editing master images. I do not understand why aperture has captured both as a pair in the library that does not allow me to delete the JPEG (in this case) as i have selected the RAW as my master.
If someone can please help... The function seems like either i am missing something obvious or that the implemented function of using RAW + JPEGs files for import is broken from a real world workflow standpoint.

leonie...
thank you for clearing that up for me.
I think that at this point it is silly to use the JPEG+RAW import functionality as it seems that it takes longer to do the above steps than to just import only the RAW files and press on from there.
I seems what i have done in the past of only importing the RAW files and then using the quick preview functionality to reduce image load times is the best thing in can come up with without keeping 'duplicates' in the database.
That really baffels me that there is no built in functionality to remove the JPEG from a RAW+JPEG pair and i wonder how the real world photographers who help Apple test and implement software to solve real world workflow problems thought the JPEG+RAW import was going to be used.
I do understand that i can use a smaller JPEG file size to reduce the bloat of the database, but used over hundreds of thousands of images is certainly going to make a dent in my total aperture database size and therefore storage needs down the road.
If you have any other workflow thoughts, or know of a 3rd party plugin/ etc... to fix this obvious shortcoming then i am all ears..
thank you again Leonie and have a great week

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Doesn't it use an external AC Adapter? If so, all you should need to use in another country is an adpater plug to match the wall socket.
... an HP employee expressing his own opinion.
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Nikon D90 RAW (NEF) files imported via iPhoto are not recognized

Would appreciate your help. Just got an iMac. OS X 10.6.7. Installed Aperture 3.1.2. I shoot RAW+JPEGs. Imported both files fine to iPhoto '11 from my old PC. When Aperture then imported an Event from iPhoto, I still see two versions of each shot, but Aperture calls them both JPEG. On one version the metadata is complete, on the second some is missing (e.g., Exposure Mode, Lens). Both are shown as 12.2 MP, no matter what. Can't do any editing this way! Any thoughts on what might be going on? Many thanks! --Bob

I just pickup a D300 and unfortunately Aperture nor iPhoto will not import the picture in the RAW format. Do you know if the RAW format will be updated in the new OS release that is to be announced?
I also contacted Nikon about the Capture NX program that came with the camera and Nikon told me that they are working with Apple to resolve the issues with there program as well.
It would be nice if the Camera venders would work with Apple before introduction to make sure the software is available to support the hardware they introduce..
Best Regards,
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RAW Camera specific import pre-sets

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