RAW conversion to .psd in Elements 12.

My Elements 12 RAW converter only offers .dng or .DNG file options when Saving; how do I save to .psd or .jpg? I've used CS3 in the past and had no problem at all in doing this. [My camera actually delivers a .dng file.]

99jon wrote:
Nothing is ever written to a raw file.
But the edits are written to a file and are available next time you open PSE; if your workflow is to print the photo from PSE, or perhaps upload somewhere from PSE, then the extra steps involved in creating a PSD or JPG are wasted steps. Whether or not saving the edits and keeping the photo as a RAW is a good solution depends on the desired workflow.

Similar Messages

Camera Raw Conversion for Elements 7.0

I am not able to open (Nikon D90 generated) Raw image files using Photoshop Elements 7.0 on my (Windows 7) computer. Please advise how to downlad a conversion tool so that I can access these raw images.
Thank you.
Dave Legger

You should able to open the nikon d90 files in pse 7 using the camera raw 5.6 plugin:
http://www.adobe.com/support/downloads/detail.jsp?ftpID=4626

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.

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 conversion comments

I respect a photographers personal opinions regarding their perceptions of differing quality levels in RAW conversions but in the commercial world these perceived differences between Aperture and say ACR are so minimal they certainly do not qualify as a deal breaker.
In the real world of commercial photography, design and printing, photo images are ultimately used as 8 bit CMYK files or when used for Giclee printing as 8 bit RGB files. These files go through so much retouching and manipulation after the RAW conversion that the esoteric quality differences talked about in these posts are irrelevant.
The proper use of any Camera RAW converter is to balance the image before outputting it as a 16 bit TIFF or PSD for refined manipulation in Photoshop. This would include refined levels adjustments sometimes with layer masks and appropriate sharpening at the final output size.
We typically use the RAW converter to:
1- Pull back highlights that appeared to be blown
2- Open shadow detail that appeared to be plugged
3- Correct color casts and saturation
4- In some cases add special effects such as conversion to rich B&W
Very few serious professionals in either the commercial or fine arts world are going to use the RAW conversion as their final image.
We can argue forever about the pros and cons of this or that RAW conversion quality, but in the real world Aperture's solution, while not absolutely perfect, does an excellent job within a program that enhances real world productivity.
Dual 2ghz G5 Mac OS X (10.4.3)

Tom...
With respect, your logic is hard to accept. You state that in the commercial world, images are typically so heavily manipulated that initially quality of RAW conversion is non-issue.
I am surprised that no one has bothered to challenge this idea. So I'll step up.
If my RAW conversion out of ANY program is going to introduce banding artifacts, 'parquet flooring' patterns, or other noisy type data into solidly colored areas, that will need to be fixed in this manipulation of which you speak. Who could justify having to do this sort of thing when there are perfectly good RAW converters out there that don't add this particular headache to the workflow?
Your message states that "Apertures solution, while not absolutely perfect, does an excellent job within a program that enhances real world productivity."
That statement stands as a contradiction when you consider that extra 'fixing' may need to be done to some images coming straight out of Apertures RAW conversion.
I suspect that you (and others) are not seeing problems because evidence is mounting to support the idea that Apertures RAW conversion works better for some flavors of RAW than others. So, perhaps some people are seeing consisten image trashing, and some not. If this is the case, one could easily understand why some are 'satisfied' and some are positively livid.
However, I digress. I still don't agree at all with the idea that in the commercial world a substandard RAW conversion would make an acceptable starting point for any commercial image, regardless of how much manipulation down the track its going to go through. I can't see any art director being satisfied knowing this was going on in their shop.
"Aperture - sure it mangles your images, but it does a heck of a job keeping track of them!"
Jim

RAW conversion for Canon 5D Mark II

I can't open my raw files from my Mark II I have PSE 6 and have upgraded my raw conversion to 5.2 it still won't recongnize my .cr2 raw files from my Mark II it recongnizes my .cr2 from my 40D whats up?

Some of the Adobe download links are wrong and take you to an earlier version of Adobe Camera Raw. The latest version is ACR 5.6 which brings support for the newest camera models such as:
Canon EOS 7D, PowerShot S90 & G11, Nikon D3S and others. It’s also backward compatible and will support all earlier models including the EOS5DmkII.
First you will need to exit Photoshop Elements.
To get the plug-in for PSE6 go to the link below - instructions are for Windows users. They will differ for Mac users.
http://www.adobe.com/support/downloads/thankyou.jsp?ftpID=4626&fileID=4303
Download the plug-in for Elements 8
Open the zip folder you just downloaded and click Extract Files.
You should see a 64 bit folder and a plug-in file below it. The plug in has a file name: Camera Raw.8bi
Now drag the plug-in file (or copy it) into the File Formats folder in the following location:
C:\Program Files\Adobe\Photoshop Elements 6.0\Plug-Ins\File Formats. See Gotcha
If running windows Vista you will probably get a pop-up requesting Administrator permission. Assuming you are the Administrator for your computer, simply agree.
I can confirm it does work as I have recently updated my plug-in for PSE6 using the above method. To test it, go to one of your photo folders, right click on a raw file (NEF, CR2, DNG etc) and select open with Photoshop Elements. The image should automatically open in ACR 5.6 giving you access to the latest slider adjustments, including white balance and exposure.
Note: If you have an earlier Camera Raw plug-in, I suggest you move it from the File Formats folder to My Documents before you begin. This will prevent it being overwritten by the new Camera Raw file (it will have the same name) and you can always move it back again if the download installation fails.
If you are using a 64-bit edition of Windows, then move the plug-in file from the unzipped download folder by navigating to:C:\Program Files (x86)\Adobe\Photoshop Elements 6.0\Plug-Ins\File Formats.

Importing RAW images from iPhoto to Elements 8

I just successfully downloaded Elements 8 (the free trial version). I have an iMac, and until now have used iPhoto for all of my photo file storage and editing needs.
I need to import some of my original RAW files from iPhoto into Elements 8. How is this accomplished?
I got the images I wanted into Elements 8 by selecting all the images I wanted to import, then dragging and dropping. The result? The images all got imported into Elements 8, but they are showing up there as jPegs.
The images were originally brought into iPhoto as RAW files, and I never converted them into jPegs, so they should still be RAW files in iPhoto. Why, then, do they show up in Elements 8 as jPegs? And how do I import directly from iPhoto into Elements 8 and keep the images being imported as RAW files?
Any insights/help would be greatly appreciated.

Using Photoshop (or Photoshop Elements) as Your Editor of Choice in iPhoto.
1 - select Photoshop as your editor of choice in iPhoto's General Preference Section's under the "Edit photo:" menu.
2 - double click on the thumbnail in iPhoto to open it in Photoshop. When you're finished editing click on the Save button. If you immediately get the JPEG Options window make your selection (Baseline standard seems to be the most compatible jpeg format) and click on the OK button. Your done.
3 - however, if you get the navigation window that indicates that PS wants to save it as a PS formatted file. You'll need to either select JPEG from the menu and save (top image) or click on the desktop in the Navigation window (bottom image) and save it to the desktop for importing as a new photo.
This method will let iPhoto know that the photo has been editied and will update the thumbnail file to reflect the edit..
NOTE: With Photoshop Elements 6 the Saving File preferences should be configured: "On First Save: Save Over Current File". Also I suggest the Maximize PSD File Compatabilty be set to Always.
If you want to use both iPhoto's editing mode and PS without having to go back and forth to the Preference pane, once you've selected PS as your editor of choice, reset the Preferences back to "Open in main window". That will let you either edit in iPhoto (double click on the thumbnail) or in PS (Control-click on the thumbnail and seledt "Edit in external editor" in the Contextual menu). This way you get the best of both worlds
2 - double click on the thumbnail in iPhoto to open it in Photoshop. When you're finished editing click on the Save button. If you immediately get the JPEG Options window make your selection (Baseline standard seems to be the most compatible jpeg format) and click on the OK button. Your done.
3 - however, if you get the navigation window that indicates that PS wants to save it as a PS formatted file. You'll need to either select JPEG from the menu and save (top image) or click on the desktop in the Navigation window (bottom image) and save it to the desktop for importing as a new photo.
This method will let iPhoto know that the photo has been editied and will update the thumbnail file to reflect the edit..

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

A novel idea regarding RAW conversion

With the much debate about Aperture and ACR and RAW conversion, I had this thought: RAW conversion is really part of the image editing process, not part of cataloguing, selection, organization, or required for producing thumbnails.
I'm not exactly sure when the RAW conversion takes place, but I'm guessing on import, so that images can be immediately edited. Why can't thumbnails and organization take place in Aperture without converting from RAW? Adobe Bridge seems to manage this just fine. It would seem like the logical place to put RAW conversion is as a precursor to image editing in Aperture. For example, when you click the adjustment button, the conversion takes place. This would seem like a logical way to incorporate a RAW Converter plugin.
Why does the Aperture RAW conversion have to take place at all (except when a user demands it) ? Seems like this follows workflow more logically...
Brad

Interesting. Well this is confusing then -- why in
the world is Aperture not sending a RAW file to
Photoshop when you configure Aperture to use
Photoshop as its external editor?
It seems from my observations that this was a design choice on the part of Apple. This is going to get a bit technical...
When you choose to open in an external editor, Aperture automatically converts any 'master' file (tagged as 'isExternallyEditable' = false and 'isOriginalFile' = true in the XML file) to a 16-bit TIFF or PSD file, adds that as a new file stacked with the original RAW and opens the new file in the external editor. That new file is not really a 'version' in terms of it just being an adjustment recipe, but is a whole new file which is linked in the database to the RAW, just like a stack.
Once that new file is made, it's 'isExternallyEditable' tag changes to true and from then on Aperture passes the file directly to the editor. This state is shown by the target icon. This repeats until you make image adjustments to that image within Aperture, leading to your earlier problems with repeated editing of the same file in PS. If you DO make adjustments to it within Aperture it then becomes a new 'sub'-master with it's own versions.
Playing devil's advocate, there is actually a valid reason for doing things this way - pass the original RAW file to ACR, and how does PS know where to save the resulting file so that it goes back into Aperture, or which RAW master to associate it with?
A possible solution with Aperture 1.0?
The manual workaround at the moment which would give a reasonable amount of play back-and-forth would be to set up two hot folders using folder actions. One automatically opens any files dropped into it in PS. The other automatically imports any files into Aperture.
So, do all your choice editing until you just have final picks, not bothering with any image adjustments, then:
1) Go through the final picks, Apple-Shift-S (export master), saving them into the PS hot folder. They automatically open up in ACR, probably one at a time.
2) Do your RAW conversion with the superior toolset available.
3) Save into the Aperture hot folder and watch them be automatically imported.
4) Now the more manual bit - drag that converted file into the stack with it's RAW original.
You now have the original and it's converted file linked together in Aperture, although keywords etc. will be separate. Once the hot folders are set up it should be relatively straightforward. Not nearly as straightforward as it could be, but hopefully manageable.
Ian

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

What do I need to get the 6.7 update [to read the CR2 canon raw files] installed in Photoshop elements 10 [new computer with Windows 8]?

I downloaded the zip file for the 6.7 update and unzipped it. I double clicked on the .exe file and it would not install. What do I need to get the update installed?

Is this the 6.7 camera raw updater you tried?
It's specifically for pse 10 on windows.
Adobe - Photoshop Elements : For Windows : Camera Raw 6.7 update for Elements 10
What camera do you have?

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)

Camera raw not working on photoshop elements 8

I have tried installing camera raw 6.2 for photoshop elements 8 so I can open RAW image files, I have done exactly as the instructions said and I still encounter the error of "cannot open ___ because it is the wrong type of file"

It needs 6.3, according to this: http://helpx.adobe.com/creative-suite/kb/camera-raw-plug-supported-cameras.html

I have a Nikon D600 and D800 and I shoot everything in Raw. I use Photoshop Elements 9 for processing but I have been unable to convert any RAW files to open in PSE. Says unable to parse the file. What does this mean and how do I fix it?

I have a Nikon D600 and D800 and I shoot everything in Raw. I use Photoshop Elements 9 for processing but I have been unable to convert any RAW files to open in PSE. Says unable to parse the file. What does this mean and how do I fix it?

Since pse 9 can only use up to camera raw 6.5 and the d600 needs at least 7.3 and the d800 needs at least 6.7, you can use the
8.6 adobe dng converter to convert those files to dng copies, which then pse 9 should open.
8.6 dng converter
windows
Adobe - Adobe Camera Raw and DNG Converter : For Windows : Adobe DNG Converter 8.6
mac
Adobe - Adobe Camera Raw and DNG Converter : For Macintosh : Adobe DNG Converter 8.6
Note:
If you have windows xp or vista or mac os x 10.6, then you'll need to use the 8.3 dng converter instead
windows
Adobe - Adobe Camera Raw and DNG Converter : For Windows : Adobe DNG Converter 8.3
mac
Adobe - Adobe Camera Raw and DNG Converter : For Macintosh : Adobe DNG Converter 8.3
how to use the dng converter
Camera Raw: How to use Adobe DNG Converter - YouTube
more info on supported cameras and camera raw plugins required
Camera Raw plug-in | Supported cameras
Camera Raw-compatible Adobe applications

RAW conversion to .psd in Elements 12.

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