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The final straw for me was something that I had not taken to so far. Recently I have been trying to do a lot more in Camera Raw rather than just export the image. This means that instead of cutting and pasting I convert my raw files to tiff (or dng) and then copy and paste the image straight into Photoshop. The problem is that the new command line window in Camera Raw that appears when you choose any of the more advanced commands cannot be modal so you cant access it at the same time as Photoshop. So for example, I no longer have the option of deleting images when I import them and then muting the clipboard to make it impossible for the new command window to open and return the image to normal editing.
My solution to this problem has been to put all my documents into separate files so that I dont have to use mutable selection windows. I would be willing to give up some of the easy stuff like the gradients and the Radial Gradient picker for the ability to keep working and editing at the same time, but I now need Adobe to listen to me.
Once again, just want to share some thoughts on some of the new Camera Raw features I have been testing on my images with the new release. I will be adding another blog to this series in a couple of days focusing on the M1-E/M1-M. This is particularly relevant for those who still use these Mac Pros because those of you will need to be using the newly released fix to get the camera simulation working again.
I do think that this is the most stable release I have seen from Adobe recently, even if it has a few niggles and a couple of the new features that I didnt use yesterday do not perform as expected. This has been an issue with some of the features in Camera Raw since before the introduction of the M1 based Macs. I was specifically testing the brush and brush edge tools, as well as the two new gradients – radial and gradient. The results are interesting.
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• DNG (*.dng) Adobe DNG (Camera Raw Format: *.CR2)
• CRW (Camera Raw)
• CR2 (Camera Raw 2: Camera Raw > File > Open)
• C1 (Canon EOS Digital Camera Raw: *.CRW)
• C1E (Canon EOS Digital Camera Raw Edit: *.cr2)
• C2 (Canon EOS Digital Camera Raw 2: *.CR2)
• C3 (Canon EOS Digital Camera Raw 3: *.CRW)
• C4 (Canon EOS Digital Camera Raw 4: *.CRW)
• C5 (Canon EOS Digital Camera Raw 5: *.CRW)
Adobe has done an excellent job at making raw conversion a breeze. You can still adjust settings according to what you like, be it saturation, sharpness, or look to its curves or levels. Unlike Lightroom, there are not tabs available on the raw image, instead you can use ACR’s “graduated workflow” which displays the raw values and allows you to adjust them directly. This means you can adjust your settings without having to jump between ACR and LR.
Being able to save changes as presets, that you can load at will, is a big step forward in workflow efficiency. These presets can be edited, saved and applied to other images, creating a very powerful workflow tool that makes Adobe raw conversion an integral part of the post workflow rather than something that you only have time to do once in a while. This adds huge value to the software.
Adobe have already released Camera Raw for Lightroom and made Free Adobe Camera Raw Download for Lightroom CC, however what they have failed to do is to provide Camera Raw integration with Lightroom and to plan out their Lightroom CC roadmap in a way that is designed to provide maximum workflow integration with in fact there are no integration with Lightroom CC, and no plans for the future.
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Adobe Camera Raw 14.5 Description
DNG export now supports looking up metadata embedded in IPTC and EXIF data. If you place a printed mailing label on a camera raw file and then look at the printed label in Adobe Bridge, the embedded IPTC and EXIF data will be displayed for the image.
If the Preferences panel in Camera Raw is set to Auto import, the set of default import settings will be applied in Camera Raw when you import images from different applications. (For example, if you shoot with an Epson scanner and later import images from an Epson scanner or Epson printer, the settings used in the scanner will be applied automatically to the image as it imports from the scanner.) This feature lets you save your current settings as a default setting for later import.
Camera Raw now supports the newly introduced “Preset” lens profile. A lens profile includes adjustment settings that can be applied to all lenses you shoot with. Currently, the “Preset” profile is available on the Canon EF lens mount and on certain Tamron lenses. Examples of preset profiles include Standard, Limited, Macro, Art, Portrait, etc. A preset profile can be applied and saved for different lengths of time (for example, when the image has been shot, the lens used, the lighting used, or in the future). You can use Photoshop to create the preset profile or you can select the preset profile when using the Lens Correction command in Camera Raw.
The steps are simple:
- Set your preferred settings and open the image into Camera Raw
- Choose a profile and use Auto Contrast and Auto White Balance to get the default settings
- Now, adjust your settings as required to get the effect you want
- Save your settings and PhotoKit will create a ready-to-print or JPEG file, which you can use as a foundation for your next step.
Adobe Camera Raw 14.5 System Requirements
- Mac OS X 10.6.8 or higher
- Processor: Intel Core 2 Duo or faster
- RAM: 3 GB or greater
- Disk Space: 17 MB or greater
Adobe Camera Raw 14.5 Features
- Single-image Super Resolution (8.00 megapixels).
- Super Resolution simultaneously increases resolution within the entire image but at the price of an increase in file size. Super Resolution is not available on individual images.
- Enhanced Resolution. Specifies an increase in the linear resolution of the image by resizing the pixels.
- On-the-fly JPEG decoding and recompression allows you to access the JPEG images you saved in a Raw file before processing and apply the same adjustments on those files.
- Support for VRD, RAR, RFX, RARv1, and RARv2 files.
- New HDR Processing dialog that provides more controls and expanded functionality than the previous HDR Processing dialog.
- New Smart Tone panel for making decisions about color and tone with the least amount of adjustment. The Smart Tone panel can modify exposures, highlights, shadows, midtones, and contrasts.
- Smart Sharpen. Reduces or eliminates noise and other artifacts without interfering with the edges of your subject by leveraging the advanced noise-reduction techniques from Adobe’s Pixel Bender engine.
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