RAW conversion no longer in OS?

From http://www.apple.com/aperture/specs/raw.html
"Cameras and camera backs followed by an asterisk require Aperture 2 with Mac OS X Tiger v10.4.11 or Mac OS X Leopard v10.5.2 or later."
It appears that Aperture 1.5.6 will not work with new cameras!
While I will probably upgrade, this really ***** for those that don't want to upgrade but have one of the new cameras. Adobe doesn't charge for new cameras, and most (if not all) of the other third party RAW converter programs don't either. I don't even think iPhoto works with the new cameras supported (at least that's what I read about someone who tried with e Sony A700).
That said, I guess the RAW converter may now be a part of the OS and a part of Aperture. I wonder if that means faster releases of Aperture updates in the future with new cameras support, and follow on releases with the OS when major updates are released. I sure hope so as I will probably get an A200 or A350 once the A350 is released and reviewed.
-Allan

Review in Macworld
..."But when I spoke to him yesterday, Joe Schorr, Apple’s product manager for Aperture, said one of the reasons why this update took so long is because Apple has redesigned the raw pipeline from start to finish. That’s enabled some of Aperture’s new features (Aperture now supports raw 2.0 image profiles), and Schorr said it’ll give Apple more flexibility to add new support in the future. Schorr stopped short of promising me that we’ll instantly get new camera support, but it was clear to me in our conversation that Apple’s aware of this shortcoming and really wants to address it, so let’s hope they can as we push forward..."
http://www.macworld.com/article/132091/2008/02/aperture2.html

Similar Messages

I have an A77 and see that DxO RAW conversions look different

Several RAW conversion comparisons on the web amongst A77 users are pointing to markedly better conversions and noise handling currently within new DxO 7 eg. http://forums.dpreview.com/forums/readflat.asp?forum=1037&thread=39970661
I know that Sony's RAW have historically taken a while to arrive at optimal conversions from previous experinece with my A350. When Lightroom 3 came along it was like getting new cameras for most Sony Alpha users with from RAW performance at last matching Nikon from effectively the same sensors.
Can you let me know the likely time lag till ACR and Lightroom will have an update to this initial default to really match the DxO performance. Otherwise, to be honest, despite being a Lightroom user since the original Beta stages and a passionate supporter and advocate, I may have to consider jumping ship. Working exclusively in RAW I do need to be using the very best conversions possible to make the best out of my investment in my camera equipment.
I don't know if this lag with ARW conversions is because Sony don't co-operate with Adobe early enough or whether because Sony is only number three in DSLR share it gets less priority within Adobe than Canon and Nikon, but some timeline on a revised version of Lightroom to address this for the new Sony Alphas would be great.
Many thanks from a long time advocate who really hopes I can stick with Lightroom,
Cheers,
Paul

Hi Hal,
Many thanks...I’ll give it a try. Not trying to cause trouble as I genuinely am a fan of LR, but if they always lag on getting to grips with Sony RAWs it’s a major drawback for Sony users.
Cheers,
Paul

RAW conversion in 16 Bit?

Hi to all!
I'm using Aperture for quiet some time now, and i like the way i can select and organize all my files, and doing and adjusting my projects and albums.
But since I'm starting shooting Nef files I seem to be more and more in a dilemma. I also like the way I'm working with CS4 now, and all the options I have in Camera Raw, and I'm still trying to figure out, whether there is a way in working with both apps inter-active.
My library is now a referenced, external one. So all editing of my Raw files is stored in the Aperture library internally. My 14 Bit Nef files are converted into 16 Bit in the moment Aperture is opening or converting it? As soon I open them with External Editor they are a 16 Bit (if I want so) but they are no more Raw.
Most of my files are not getting extensively edited, so it's fine with me doing my conversion and a few tweaks, and leave them so. Now I tried to open the same Nef files in Adobe Camera Raw, and as long I let Adobe store the edit files separate from the Raw files, it seems Aperture is not disturbed, and I can even open and adjust them again. So far it seems to be no problems.
But I noticed now 2 problems.
The first is that all given keywords and description are only inside Aperture library (and they would only accompanied if I export the files as Tif)
And secondly that Adobe Raw seems NOT to convert my Nef files into 16 Bit.
If someone sees somehow a workaround pls give me ideas. Also how important is this 16 Bit question at all during this RAW conversion? Would it make sense to Raw-convert a 8 Bit file, and open it after to 16 Bit to make than more layer-work or clean-up?
I'm sorry if my questions sound a bit confusing.

mogli365 wrote:
I also like the way I'm working with CS4 now, and all the options I have in Camera Raw, and I'm still trying to figure out, whether there is a way in working with both apps inter-active.
You can use both but not interactively, and it's probably not a good idea unless you really know what you're doing because you could lose track of some images that way. Many will say that there's no reason to do this, but there are some things I do starting in Bridge/ACR. I keep these images in a folder called "NOTinA2", and I browse that folder with Bridge.
My library is now a referenced, external one. So all editing of my Raw files is stored in the Aperture library internally. My 14 Bit Nef files are converted into 16 Bit in the moment Aperture is opening or converting it? As soon I open them with External Editor they are a 16 Bit (if I want so) but they are no more Raw.
Neither program is affecting the actual RAW file: Bridge/ACR are storing instructions in a sidecar file, and Aperture is storing instructions in the Library. When you export or open in Photoshop, a new file is created. There's no need to open either in Photoshop unless you need to do Photoshop work.
Most of my files are not getting extensively edited, so it's fine with me doing my conversion and a few tweaks, and leave them so. Now I tried to open the same Nef files in Adobe Camera Raw, and as long I let Adobe store the edit files separate from the Raw files, it seems Aperture is not disturbed, and I can even open and adjust them again. So far it seems to be no problems.
The two programs are both referencing the same files, and one doesn't even know the other is there. If you open a file in Photoshop from either program a new file will be created. However, if you open it from ACR, Aperture will not know it's there.
The first is that all given keywords and description are only inside Aperture library (and they would only accompanied if I export the files as Tif)
You can not share Keywords from Aperture with Bridge.
And secondly that Adobe Raw seems NOT to convert my Nef files into 16 Bit.
At the bottom of the Adobe Camera RAW window, you'll see what looks like a web link. Click it to open the workflow options dialog box. There you can change it from 8bit to 16bit, set your print resolution and tell it if you want to open them in Photoshop as Smart Objects. (that last option will "embed" a copy of the RAW file in your Photoshop document and allow you to revisit you RAW conversion settings.)
DLS

RAW conversion bug with Noise Reduction

Hello,
I have found a serious bug in the RAW conversion when noise reduction is applied. When converting from two types of Canon RAW files (a CRW from a Powershot G6 and a CR2 from a 20d) I found that if you apply Noise Reduction to a RAW file on very low settings (the default setting in the NR function will produce this reliably) single-pixel lines appear at regular intervals throughout the image. Here is an example:
You can see several lines in this image:
http://farm1.static.flickr.com/140/3821480263171e76604b.jpg
A 100% detail of which is here:
http://farm1.static.flickr.com/179/382148021af6586d27eo.jpg
Has anyone else had this problem? Can someone from the Aperture dev team fix this?
-Steve G

Well I find this filter is quite good in 'masking' block artifact that codec like xvid, or other low compression codec have. I only apply it if I find the block artifact is too much and I find this filter is less offending to my eyes than the block artifact.
In manual it said that if you have noisy video and want to lower the size then you can use this filter. It also blur the video a bit. But I suspect it is more than blur as I try gaussian blur in time line and the result is not as good. You can see the result as well. There is the tab between source and target and you can compare the result by togling between source and target tab.
BTW, anyone with 1 core, dual, or quad core, can you tried to encode with it? Just cancel it after few minutes as I want to see what is your processor utilization with this filter on. Also you can see how long does it take to process this video from the 'estimation time left'.

Raw conversion problem

I have Photoshop Elements 6 (Camera Raw 4.2) and a Nikon D7000 (Camera Raw 6.3 minimum). I am using DNG converter 8.1 to create DNG files, but these still will not open in Elements. I am selecting compatibility of Camera Raw 4.1 in the conversion program. What else can I do?

Sorry it took me a long time to reply. If I send to dropbox (which I can), can I restrict the images to specific email addresses, or will it be accessible to anyone? Not that I care about the image particularly, as it was only a test.
Once I have an idea of this, I will do a final test & send the data to dropbox.
Date: Wed, 19 Mar 2014 15:12:51 -0700
From: [email protected]
To: [email protected]
Subject: Raw conversion problem
    Re: Raw conversion problem
    created by ssprengel in Photoshop Elements - View the full discussion
It seems like you're doing everything that you're supposed to be doing, and it is not working. I don't have an explanation why that is, but can you share an original NEF and its DNG via www.dropbox.com or similar and others can test with a newer version of ACR to make sure there isn't something corrupted wtih the files.
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Raw photos no longer importing into iphoto

New sony A7II and iphoto will not recognise the raw files?

You say "no longer importing" - What has changed since they did import? What version of iPhoto and of the OS do you have?
Here is the list of currently supported RAW - It looks lie you camera is not yet supported
OS X Yosemite: Supported digital camera RAW formats - Apple Support
No one know when or if Apple will update support for any camera - you can send them feedback - iPhoto menu ==> provide iPhoto feedback
Other than that you will need to use there RAW conversion while you wait for Apple
LN

Contact Sheets / Proofing and useful Aperture RAW Conversion

All,
I wanted to appeal to all of you pro photographers out there to share about how you handle the proofing stage (contact sheets) with your clients. I'm curious about how you all make this process as efficient as possible.
Ok, say you have taken 1000 pictures for a wedding or some other event (forget the accuracy of that number, its just a round number for discussion sake). You need to present your photos to your client, but you need to present a subset of the 1000 photos for a few reasons:
1) Not all photos you are going to take are going to be great. I've heard a general quote by some pro photographers that their "keeper ratios" (the percentage of pics that are really good from a shoot) run around 10%-20%. Fair enough, I don't want to debate this percentage, but it gives us a target number of 100 photos to present to a client from a 1000 picture shoot.
2) Your client is probably not going to be happy if they have to sift through 1000 photos. I recently had a friend who paid several thousand dollars for a wedding photographer who sent them 1000 photos to choose from. They weren't particularly happy with this, and told the guy there was just too many to choose from. Personally, I felt that this was putting part of the photographer's responsibility on the client, but whatever.
Ok...so for the sake of the example here, we have to get 1000 photos down to 100 photos, so the client can choose what 50 (for example) they want to purchase and have printed, put in their photo book, slide presentation, etc.
Sorry for the long intro, but here is the issue at hand: we want to work quickly for the client, and get them their 100 photos as soon as possible. We also want to put our best foot forward, and give them high-quality photos. But at the same time, we want to work efficiently, and if possible not spend time doing final retouching on photos that the customer doesn't want, but rather focus this time directly on the photos the customer does want.
I have two questions from this which pertain to Aperture's RAW conversion and workflow:
1) Do you do any significant adjustments on photos for the contact sheets you present to clients (the 100 photos now)? Is it just a quick exposure adjustment, or are you retouching all 100?
2) Despite Aperture's RAW conversion problems and other adjustment glitches, is it sufficient quality in your opinion for a contact sheet?
My purpose in asking these questions is that perhaps the Aperture RAW conversion issue can be mitigated if we can get to the point of customer contact and review using Aperture-only conversion and adjustment tools, and then isolate photoshop use for only the final, significant edits. The problems with Aperture's RAW conversion are well-documented, but the question is, could it still be sufficient for small-scale proofs, understanding that for large-scale, high-res images, it won't be suffcient.
Your opinons are valued!
Brad
Powerbook G4-1.33GHz-17" / Powermac G4-1.4GHz Mac OS X (10.4.2) PB: 1GB RAM, Radeon 9600-64MB / PM: 1.25GB RAM, Radeon 9000Pro-128MB

">-DELETE project from Aperture because I can't use the app for the delivery
of finals:
Forgive me if I've forgotten the detail you may have posted elsewhere about this. I have seen you mention this several times, but I am really interested in the specifics behind the problems you have encountered. I have some needs in finishing that are beyond just regurgitating a photo. I'll be basically augmenting my photo with text, borders, special effects, etc. for more professional presentation, and the ability to market a photo in different ways. This is one reason I cannot discard Photoshop from my workflow. Anyway, let's assume for a moment I'm able to do all my editing in Photoshop, and those PSD files are sitting within Aperture. From there, what problems am I going to encounter? I'm tapping your brain here, as the time I have spent in Aperture has been primarily oriented toward everything prior to the finishing stage. "
Hi Brad,
If I've imported images into Aperture that have previously been worked over in Photoshop, none of the layers I may have created in those files will be available to me from within Aperture. This does not break but severely sprains the functionality of Photoshop. I'm keeping the images around because I think I or my clients will need them later, so what might I do with them?:
1) If I'd like to do more work on them I either have to abandon access to the previously created layers and their magic, or export the file from Aperture, work on it outside, import it back into Aperture. Every time I want to work with those layers I have to do the same dance.
2) If I'd like to send jpg or tif versions of those files anywhere I can choose to use the tools within Aperture or Photoshop to do so. Aperture's tools for these conversions are simply not of professional utility: no compressed tifs, no layered tif support, no quality choices for jpgs and no jpg previews. And in either case, using Aperture or Photoshop, the conversions are created OUTSIDE of Aperture and not managed by it.
3) When I decide to archive my older projects I'm faced with the incredible limitation that Aperture will not allow me any remote search of any archive that is not "live" within Aperture. Not even Spotlight will search Aperture libraries!!!!!
So moving already created projects into Aperture has absolutely no advantages and a number of problems, any one of which might be a deal-killer by itself.
If I'd like to use Aperture to manage work that I create going forward I've got those limitations already listed above, but I CAN access layers in PSD that are created from within Aperture. I cannot make layered duplicates of those files in order to work on versions of those images so once again the Photoshop workflow is hobbled.
All of this makes it a bad idea for my projects to make anything but a brief trip in and out of Aperture for sorting/proofing.
Regards,
fp

Raw conversion color differences

Yes, I know that Adobe had to guess at how raw files are encoded (I shoot Nikon)a and that perfect color conversion should not be expected but...
I started with Capture NX2 and while I loved the quality of pictures I could get from it, it was very slow and cumbersome, and publishing photos was not possible.
I switched to LR3 and found the photo management (publishing, collections, etc) to be marvelous (maybe other products have it as well, but I found my happy place. However, I noticed that even with a calibrated monitor the colors were not right. Below are two pictures labeled cnx2 and LR3. The CNX2 version was processed to include "bluing" the sky. Not much else was done. The LR3 version (done as a training aid until this was found) is unprocessed except for an X-rite color checker profile applied (more on this later). Notice how the CNX2 red has turned pink or magenta in the LR3 version. To try and fix the pink, I bought an X-Rite color checker and installed their plugin for creating profiles. Made no significant difference. This is really bothering me. Sure with some skills I haven't yet acquired I may be able to target the red and fix it, but to do it correctly I'd need to know what It's supposed to look like, and I had hoped to no longer require the use of CNX2 so that wouldn't be the case. I'm considering going back to CNX2 for raw conversions and maybe capture sharpening (I'm more comfortable with CNX2 capture sharpening numbers than I am with LR3).
CNX2
LR3/ACR 6.x
Thoughts? Suggestions?

function(){return A.apply(null,[this].concat($A(arguments)))}
Jeff Schewe wrote:
Really, people tend to give Nikon and Canon far too much credit...in fact, they just barely got this stuff to work. I will say the cameras and sensors are pretty darn impressive...their image processing knowledge, not so much.
Canon does seem to know how to make pleasing images and get the most out of their data.
Some examples: Canon does a better job, in some ways, at rescuing partial overexposure (compare sunset images). And they know how to put a raw converter in a piece of silicon that runs in a tiny fraction of a second.
But these things aren't really important... The real issue is even simpler:
If all you did was make the default profile for each camera produce the same colors the cameras themselves produce, while still providing all the same configurability and features, you'd cease to get complaints about colors being "off".
Whether you think the cameras produce "good" color or the camera company engineers know anything about color is irrelevant.
No one would be harmed by this, but you'd stop confusing customers who expect one thing and see another.
-Noel

RAW CONVERSION FOR NIKON D3200 ON XP??

I have done the download that I was told to do on the forum for the latest version of RAW conversion and now the RAW info on the Plug Ins in help has completely gone and I still cannot open RAW files.
I am becoming very frustrated!

This is the forum for Adobe Add-ons and so is not really placed to answer your question.I did a quick google search and there is this which may or may not help you:
Adobe - Adobe Camera Raw and DNG Converter : For Windows : Adobe DNG Converter 7.1
However Camera RAW has been updated many time since then but if you are running Windows XP I assume you are not running a very recent release of Photoshop as Win XP is no longer supported. You may have beeter luck posing your question on this forum:
Photoshop General Discussion
Hope that helps.
Jonathan

Lightroom vs. Photoshop Raw conversion

I have noticed that the Lightroom RAW conversion looks about 1/3 to 1/2 stop brighter compared to Photoshop on the same image with the same settings (I'm using LR 2.4 and Photoshop CS4). Anybody else notice this or have any thoughts? I'm assuming they use the same RAW conversion engine.

Thanks for the response. Well, when I export from LR to a JPEG and do the same from Photoshop (viewing them in photoshop), I get two slightly different toned images (I mistakenly said the LR images are brighter...they're actually darker). Viewing them this way should remove any monitor discrepencies (I'm working on a calibrated Lacie 724 monitor with 120% Adobe 1998 gamut so that should not be an issue).

Panasonic Lumex DMC-LX1 raw conversion for Aperture doesn't work.

I've seen many people having raw conversion problems. Direct import of Lumex raw files to Aperture does not work.
Adobe DNG conversion of raw to dng does not work.
I'm running on Photoshop CS.
Perhaps my DNG conversion settings aren't right? Tell me what they should be.
Do I have to go as far as changing the raw.plist or whatever it's called.
Would CS2 with the Raw conversion Plug-in work instead?
Remember that..."If all the woman lived across the sea, what a great swimmer Yellowman would be"!
2.0 Duelly G5 4gigs ram. 23" Flat Cinema Mac OS X (10.4.6)

Joe,
good to see that you are reading these posts. I am sure that many users whose cameras' raw files are currently not supported by Aperture would love to help out in any way they can.
However, as we are living in a converging world, why doesn't Apple talk with Adobe and share some of the information used for RAW conversion? I'm thinking dcraw which (according to a note in its source code*) is using data provided by Adobe... and that same data is also contained in the Raw.plist.
Thus, if Adobe knows something and shares it with dcraw, and Apple uses some of the dcraw code (at least the m2 matrices found in Raw.plist are equal to the dcraw ones), why can't you guys all share the same information, and thus speed up RAW support for all cameras?
Just a thought.
Kindest regards,
Karl
* This is the bit:
Thanks to Adobe for providing these excellent CAM -> XYZ matrices!
void CLASS adobe_coeff (char *make, char *model)
powerbook G4 17 1.33 GHz Mac OS X (10.4.6)

"Unable to save the raw conversion settings. There was a write permission error."

I just built a new workstation for processing photos using PS CS5. I use external drives to store my images as I find it easier for backing up as well as for when I want use my laptop for sorting, etc.. I copied over all my old "Collection" files, and of course, had to "fix" them once on the new machine. Once pointed in the right direction, the collections all fill out correctly.
When I go to process a collection though, I encounter an odd problem I can't seem to sort out. I can delete files, rename files, copy/paste to the external drives, etc.. What I can't seem to do is add Labels, Ratings, or modify RAW settings. I mean, I can use ACR to make adjustments, I just can't seem to save them.
The system just ignores label, rating commands completely. When I try to save an ACR adjustment I get this error. "Unable to save the raw conversion settings. There was a write permission error."
The files are NOT write protected. I'm set up as the owner of my workstation, with complete control of the system. I can't seem to find any useful information about this error because the "write permission error" seems to only be happening on installs, so that's all I can find help for.
My system:
Intel Core i7 970@ 3.20GHZ
24.0 GB RAM
64-bit OS - Windows 7 Pro
DX58S02 Motherboard
NVIDIA GeForce GTX 580

Thanks for replying. I've been going crazy trying to fix this.
To answer your first question; I use sidecar XMP files. If everything from my archive was shot in RAW I'd try converting to DNG and see if embedding the changes directly in a file worked. Unfortunately, a lot of my old stuff was shot in JPG, so sidecars seems to be the best choice.
When I add labels, ratings, as well as change RAW settings on files I place on my workstations HD everything works. It's only when I try to do these things with the same files on removable drives that I run into trouble. The drives I use are Transcend 640GB StoreJet 25ms connected via USB.
I don't think it's a UAC problem. At least, to my understanding, doesn't that control how your machine alerts you to program changes? I looked into how to change ownership, and did so, but that didn't work. Here's a link to what I mean: http://www.addictivetips.com/windows-tips/windows-7-access-denied-permission-ownership/
I'm stumped. I also hate the idea that I'll have to go through various folders to find images from already created collections, copy them to a new folder on my HD and then work on them. Then I'll have to put them all back... ugghhhh

Exported Raw Conversion Image Resolution and Assigning a Color Profile, etc

In Aperture 1.1, although I set the exported Raw conversion image resolution to 300 dpi in the preferences, it continues to come out at 72 dpi which is something of an inconvenience. Also, is it possible to assign a color profile to the "exported version" so that it is congruent to my PS CS2 color workspace (if that is what its called). Is this program capable of carrying out a conversion as a background operation? Finally, can the layout windows be configured so that they remember how they have been used in the past? Thanks.

Iatrogenic huh! Cool!
Anyway, I'm not real clear on what it is you are trying to accomplish. Despite your obvious vocabulary skills, there seems to be some disconnect relative to what you are trying to accomplish. You are right that "exporting a version" in Aperture is roughly equivalent to what happens in ACR when you "Open" a RAW image into Photoshop. In both cases you have, hopefully, already done the adjusting of parameters you want prior to "exporting", or "opening". When you "open" or "export" you wind up with an "image" composed of pixels, whereas in the RAW adjustment phase you are just working with a temporary thumbnail and a set of mathematical instructions. Big difference, I suppose is that when you "open" and image from ACR into CS2, the resulting image is truly just pixels and has not had a "file type" applied to the file yet, until you "save" it, while in Aperture, if you "export" a file to CS2, or to the desktop, you end up with the file type already applied. Presuming you "export" a 16 bit TIFF or PSD, there is no operational difference.
I could be wrong, but with the new Bayer Demosaicing algorithms in Aperture 1.1, and the Camera RAW adjustments, you should be able to come up with an adjusted image that is VERY close if not identical to one done in ACR, with the possible exception of lens abberation adjustment. I was very critical of the RAW adjustments in 1.0.1, but I am very happy with the capabilites in 1.1. That said, I think there is still some room for improvement in user friendliness of some of the adjustments such as Levels.

Numeric or value error: hex to raw conversion error , pls help

I am having problem with a sproc which accepts a Raw parameter.
I have a table called Profile:
CREATE TABLE PROFILES
PROFILEID INTEGER NOT NULL,
USERID INTEGER NOT NULL,
PROFILE RAW(255)
and a sproc named addprofile
CREATE OR REPLACE PROCEDURE addprofile
profile IN RAW,
userName IN VARCHAR2
AS
userId INT;
BEGIN
GetUserIdByName( userName, userId);
INSERT INTO Profiles
( ProfileID,userId , profile )
VALUES ( Profiles_ProfileID_SEQ.NEXTVAL,AddProfile.userId ,
AddProfile.profile );
END;
I am calling the Ent Library's Insert profile method which is part of DbProfileProvider.cs (Security App block). It is trying to persist a serialized profile object into the database.
private void InsertProfile(string userName, byte[] serializedProfile,
Data.Database securityDb, IDbTransaction transaction)
DBCommandWrapper cmd = securityDb.GetStoredProcCommandWrapper
(SPAddProfile);
cmd.AddInParameter("userName", DbType.String, userName);
cmd.AddInParameter("profile", DbType.Binary, serializedProfile);
securityDb.ExecuteNonQuery(cmd, transaction);
I get the following error:
Any suggestion on what needs to be changed to get this working? thanks!
Exception Details: Oracle.DataAccess.Client.OracleException: ORA-06502: PL/SQL: numeric or value error: hex to raw conversion error ORA-06512: at line 1
Stack trace:
[OracleException: ORA-06502: PL/SQL: numeric or value error: hex to raw conversion error
ORA-06512: at line 1]
Oracle.DataAccess.Client.OracleException.HandleErrorHelper(Int32 errCode, OracleConnection conn, IntPtr opsErrCtx, OpoSqlValCtx* pOpoSqlValCtx, Object src, String procedure)
Oracle.DataAccess.Client.OracleException.HandleError(Int32 errCode, OracleConnection conn, String procedure, IntPtr opsErrCtx, OpoSqlValCtx* pOpoSqlValCtx, Object src)
Oracle.DataAccess.Client.OracleCommand.ExecuteNonQuery()
Microsoft.Practices.EnterpriseLibrary.Data.Database.DoExecuteNonQuery(DBCommandWrapper command)
Microsoft.Practices.EnterpriseLibrary.Data.Database.ExecuteNonQuery(DBCommandWrapper command, IDbTransaction transaction)
Microsoft.Practices.EnterpriseLibrary.Security.Database.DbProfileProvider.InsertProfile(String userName, Byte[] serializedProfile, Database securityDb, IDbTransaction transaction)
Microsoft.Practices.EnterpriseLibrary.Security.Database.DbProfileProvider.SetProfile(IIdentity identity, Object profile)
[InvalidOperationException: Error saving the profile for the following user 'test'.]
Microsoft.Practices.EnterpriseLibrary.Security.Database.DbProfileProvider.SetProfile(IIdentity identity, Object profile)
EntLibSecuritySample.DFO.Security.SecurityHelper.SetUserProfile(IIdentity identity, Object Profile) in C:\DFO\Sample\Security\EntLibSecuritySample\SecurityHelper.vb:285
[ApplicationException: An error has occurred saving profile object to Datastore. See stack trace for further information]
EntLibSecuritySample.DFO.Security.SecurityHelper.SetUserProfile(IIdentity identity, Object Profile) in C:\DFO\Sample\Security\EntLibSecuritySample\SecurityHelper.vb:287
EntLibSecuritySample.ProfilePage.cmdSaveProfile_Click(Object sender, EventArgs e) in C:\DFO\Sample\Security\EntLibSecuritySample\profile.aspx.vb:59
System.Web.UI.WebControls.Button.OnClick(EventArgs e)
System.Web.UI.WebControls.Button.System.Web.UI.IPostBackEventHandler.RaisePostBackEvent(String eventArgument)
System.Web.UI.Page.RaisePostBackEvent(IPostBackEventHandler sourceControl, String eventArgument)
System.Web.UI.Page.RaisePostBackEvent(NameValueCollection postData)
System.Web.UI.Page.ProcessRequestMain() +1292

Harsh,
I am not a user of the Enterprise Library so I can not speak to the specifics of that. However, here is a short sample that is based on the information you've provided. Perhaps it will be useful.
Database:
create table profiles
profileid integer not null,
userid    integer not null,
profile   raw(255)
create or replace procedure addprofile
p_profileid in integer,
p_userid    in integer,
p_profile   in raw
as
begin
insert into
    profiles (profileid, userid, profile)
    values (p_profileid, p_userid, p_profile);
end;
/C# code:
using System;
using System.Data;
using System.Text;
using Oracle.DataAccess.Client;
using Oracle.DataAccess.Types;
namespace HarshTest
/// <summary>
/// Summary description for Class1.
/// </summary>
class Class1
    /// <summary>
    /// The main entry point for the application.
    /// </summary>
    [STAThread]
    static void Main(string[] args)
      // connect to local db using o/s authentication
      OracleConnection con = new OracleConnection("User ID=/; Pooling=False");
      con.Open();
      // create command object and set properties
      OracleCommand cmd = new OracleCommand();
      cmd.Connection = con;
      cmd.CommandText = "ADDPROFILE";
      cmd.CommandType = CommandType.StoredProcedure;
      // parameter object for profileid
      OracleParameter p_profileid = new OracleParameter();
      p_profileid.OracleDbType = OracleDbType.Int32;
      p_profileid.Value = 1;
      p_profileid.Direction = ParameterDirection.Input;
      // parameter object for userid
      OracleParameter p_userid = new OracleParameter();
      p_userid.OracleDbType = OracleDbType.Int32;
      p_userid.Value = 1;
      p_userid.Direction = ParameterDirection.Input;
      // create a byte array for the raw value
      ASCIIEncoding encoder = new ASCIIEncoding();
      byte[] byteArray = encoder.GetBytes("TestProfile");
      // parameter object for profile
      OracleParameter p_profile = new OracleParameter();
      p_profile.OracleDbType = OracleDbType.Raw;
      p_profile.Value = byteArray;
      p_profile.Direction = ParameterDirection.Input;
      // add parameters to collection
      cmd.Parameters.Add(p_profileid);
      cmd.Parameters.Add(p_userid);
      cmd.Parameters.Add(p_profile);
      // execute the stored procedure
      try
        cmd.ExecuteNonQuery();
      catch (OracleException ex)
        Console.WriteLine(ex.Message);
      // clean up objects
      p_profile.Dispose();
      p_userid.Dispose();
      p_profileid.Dispose();
      cmd.Dispose();
      con.Dispose();
}Maybe the part about creating the byte array is what you are missing...
- Mark

Raw Conversion: Colors not accurate. Correction with profile?

Hi,
When I create JPGs from my Raw files, the results don't look natural. Some colors have more saturation, some less. For example, the colors of the KoMi A series look somehow dirty; the reds of the Maxxum 5D seem to be oversaturated (dark reds are to bright, brown faces look rather pinkish).
This is in comparison to the orignal objects, to the JPGs generated from the KoMi Raw converter and to the in-camera JPGs.
Since Lightroom has tremendous color tuning options (under HSL and Color), I wonder whether a camera-specific profile can make the colors more natural. Has anybody tried for the KoMi cameras? Can anybody share a profile?
I don't have a color checker, so this would be a tough one for me. I tried a bit, but whenever one color seemed right, another color had become worse.
Here is my equipment:
Cameras: Konica Minolta A2, Minolta A1, Konica Minolta Maxxum 5D.
Other: My room has fluorescent tubes of type 950 (5000K, highest quality, Philips Graphica Pro) or of course daylight from outside. My screen is calibrated using ColorPlus hardware. I used a grey card for most of my photos. JPGs viewed with IMatch (color-profile aware).
Regards,
Martin

Hallo Uli,
there are two aspects of the color deviation:
1. Displaying colors in LR
This is what you are addressing in the other thread. I can confirm this behavior, but let's not touch this matter here.
2. Raw conversion
This is what I am talking about in this post. The effect is actually larger than the display deviation.
Regards,
Martin

RAW conversion no longer in OS?

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