Author Archive: Tom Hogarty

What happens to Lightroom after my membership ends?

Since the launch of the Creative Cloud, Adobe has engaged in an ongoing dialog with the photographic community. We’ve tackled mobile workflows, provided ongoing enhancements and lastly, provided a membership plan tailor made for all levels of photographers. With the latest update to Lightroom 5.5 I believe we’ve also addressed a lingering concern in the community: What happens to my photographs after my membership ends?  With Lightroom 5.5, at the end of a membership, the desktop application will continue to launch and provide access to the photographs managed within Lightroom as well as the Slideshow, Web, Book or Print creations that we know many photographers painstakingly create. The Develop and Map modules have been disabled in order to signal the end of the membership and the need to renew in order to receive Adobe’s continuous innovation in those areas. Access to Lightroom mobile workflows will also cease to function. We hope this meets the expectations of our customers and we look forward to an ongoing dialog.

The Field Triage Opportunity for Lr Mobile

I’m keenly aware that photographers would like to leave their laptops behind and head out on the road with just their DSLR, Camera Connection Kit and an iPad.  It’s not just pros on a shoot in the middle of a remote location, it extends all the way to every photography enthusiast who has debated with their spouse on the necessity of bringing a bulky laptop on the family vacation. This is something the Lightroom team wants to tackle with Lightroom mobile and customers can realize the beginning of this in a JPEG-only workflow.  But there are a few hurdles we need to address before we can have a robust experience that’s able to include raw files:

  • We know our customers often like to shoot in a raw format.  That’s a lot of data and the ingest experience on current iPads via a Camera Connection Kit is quite slow.
  • The way the Camera Roll works on iOS, an application like Lightroom mobile would need to duplicate the storage required by a photographer’s images then leave customers with an awkward deletion experience on the camera roll to save space.
  • The bandwidth required to pass the originals from the iPad through to our servers and back to your desktop would be substantial and slow.

We’ve utilized a Smart Preview solution on the desktop to expedite access to original files on mobile devices but that becomes more difficult going in the other direction due to processing requirements and the fact that customers would expect the original to eventually arrive on their desktop.(And that transfer to the desktop should occur without a kludgey, manual copy and link-to-original workflow from the CF or SD card)  We’ll need to address all three of these areas before we can have a suitable field triage workflow.  We can tackle the bandwidth requirement with intelligent, downstream use of P2P connections but the first two issues will still remain a challenge.

The team would love to hear your thoughts and expectations in this area.

Regards,
Tom Hogarty

Adobe Camera Raw 8 support for Photoshop CC and Photoshop CS6

Today’s Photoshop CC announcement requires a modest change in our camera raw support policy.  Because Adobe is still selling Photoshop CS6, those customers will continue to receive updated camera raw file format compatibility via Adobe Camera Raw 8.  When we update ACR8 with new camera support, Photoshop CS6 customers can work with the new version of the Camera Raw plug-in.  No new features or functionality will be available in ACR to Photoshop CS6 customers as part of those updates. (No Upright, advanced healing brush or radial filter, etc.)  I don’t have a timeline for how long this camera raw support will continue for Photoshop CS6 but I want to be consistent with our past policy of providing raw support for currently shipping products.

Thanks and I look forward to your feedback.

Lightroom and the Creative Cloud

Adobe’s recent announcement around our Creative Cloud update has generated quite a few questions around how it will impact Lightroom 5.  I’ve answered a few of the questions below and please feel free to ask additional questions in the comments.

 

Q. How much will Lightroom 5 cost?

A. Lightroom 5 is available for an estimated $149 US.  Customers of previous versions of Lightroom can upgrade to Lightroom 5 for an estimated $79 US.

 

Q. Will Lightroom 5 be included as part of Adobe Creative Cloud?

A. Yes.  Lightroom 5 will be delivered to Creative Cloud members at no extra charge when it’s available.

 

Q. Will I still be able to purchase Lightroom 5 outside of the Creative Cloud

A. Yes. Lightroom 5 will continue to be available as a standalone product, available for purchase as an Electronic Software Download(ESD) or as a boxed product with a traditional perpetual license.

 

Q. Will there be a different version of Lightroom called Lightroom CC?

A. No.

 

Q. Will there be features of Lightroom 5 that are exclusive to Creative Cloud members?

A. No.

 

Q. Will Lightroom become a subscription only offering after Lightroom 5?

A. Future versions of Lightroom will be made available via traditional perpetual licenses indefinitely.

 

Q. Is Lightroom included with a Photoshop CC single-app subscription?

A. Lightroom is available as stand-alone purchase, and through the full Creative Cloud package. Lightroom is not included with a Photoshop CC single-app membership.

DNG 1.4 Specification Notes

I’ve received a number of questions about what’s new in the DNG 1.4 specification that we posted earlier this week.  If you’re not comfortable diving into the 101 page document, here’s a quick summary with a few of the potential implications of the new enhancements to the file format.  [Please note that this content is an adaptation of a presentation created by Thomas Knoll, co-creator of Photoshop and creator of Adobe Camera Raw and the DNG file format.]  Before we dig into the new changes I think it’s worth looking at the history of DNG format innovations:

DNG Revision History

DNG Version 1.0 – September 2004

  • Initial Release

DNG Version 1.1 – February 2005

  • Preserving Masked Pixels

DNG Version 1.2 – April 2008

  • Camera Profiles (See also, DNG Profile Editor)

DNG Version 1.3 – June 2009

  • Opcodes (e.g. Lens Corrections)

DNG Version 1.4 – October 2012

  • Default User Crop
  • Transparency
  • Floating Point (HDR)
  • Lossy Compression
  • Proxies

 

Default User Crop

Many cameras have aspect ratio crop modes, e.g. 4:3 or 16:9, yet still save the entire sensor image to the raw file.  In the image below you can see that the raw file contains the entire black area within both of the camera’s crop modes.  The new tags allows the crop setting to be respected but to also allow the customer to “un-crop” the image to see the entire sensor area.  (See the new DNG Recover Edges Plug-in for Lightroom on Adobe Labs to “un-crop” a DNG file: http://labs.adobe.com/technologies/lightroomplugins/)

 

Transparency

When images are “stitched together” in an alignment process or panorama process the resulting image could have “undefined” pixels around the edges.  The new specification update now allows for those undefined areas to exist in a raw file format.

 

Floating Point (HDR)

HDR images have a high dynamic range that will not fit into a 16-bit linear integer encoding.  Floating point storage of information allows for a larger amount of dynamic range to be stored within a file:

  • 16-bit integer data can only store 16 f-stops of image detail.
  • 16-bit floating point data can store over 30 f-stops of image detail.
  • 32-bit floating point data can store hundreds of f-stops of image detail.

Lossy Compression

The current tradeoff in image quality and file size between a DNG and JPEG file:

A lossy compressed DNG file is much smaller but maintains the flexibility of raw data:

DNG Proxies combine the ability to utilize lossy compression with downsampling.

Summary

These new features to the DNG file format are exciting imaging advances that enable numerous workflow opportunities.

Lightroom 4 now available on the Mac App Store

We’re pleased to announce that Lightroom 4 is now available via the Mac App Store in North America.  The Mac App Store is a convenient way to research and purchase software for your Mac computer.  It’s based on an Electronic Software Delivery (ESD) method so there’s no box and no shiny disc.  Instead, you download and install Lightroom directly from the Mac App Store, similar to how ESD works on Adobe.com and Amazon.com in North America. The Mac App Store offering is the same product offered on Adobe.com in terms of features and functionality but has been modified to comply with Mac App Store requirements. We’re excited to offer this distribution option to our Mac customers; however, there are a few important pieces of information you should be aware of:

  • This is a single platform license for Mac only.  (The boxed version and the ESD offering on Adobe.com can be installed on Mac or Windows)
  • Updates will take place through the Mac App Store, not via Adobe.com for this version of Lightroom.  When we update Lightroom for new camera support(about 4 times per year), the Mac App Store version may be released at a different time than the update on Adobe.com
  • There is no upgrade pricing available on the Mac App Store for Lightroom customers who own Lightroom 1, 2 or 3.
  • Because there is no upgrade pricing or upgrade validation currently available on the Mac App Store, there is no guarantee that upgrade pricing will be available to Mac App Store Lightroom 4 customers when Lightroom 5 and future versions of Lightroom are released.
  • Lightroom 4 is available on the Mac App Store in North America only

Thanks and we look forward to your feedback!

Lightroom 4.1 RC2 Now Available on Adobe Labs

Lightroom 4.1 is now available as Release Candidate 2 on Adobe Labs.   The ‘release candidate’ label indicates that this update is well tested but would benefit from additional community testing before it is distributed automatically to all of our customers.  The final release of Lightroom 4.1 may have additional corrections or camera support.

Bugs Corrected in Lightroom 4.1 Release Candidates

The following bugs that were part the Lightroom 4 releases have been corrected. The team appreciates the very detailed feedback the community has provided on Lightroom 4 and we’re excited to correct a number of issues experienced by our customers. These issues have been FIXED:

  • Estimated price does not update when switching between books in the Collection panel.
  • Postscript Type 1 Fonts do not appear in the Font menu within the Book module.
  • Filenames can now be used as auto text captions within the Book module.
  • Fonts such as Courier New and Times were not displaying properly on books exported as PDF files.
  • The Adjustment Brush pin would not properly accept negative values.
  • Clarity adds grey tinting to 100% white tones.
  • Creating a soft proof does not add a line item to the History Panel.
  • Altitude will now be populated on geotagged photos.
  • Unable to import RAW+JPEG files directly from Canon 5D, Canon 5D Mark II, Nikon D700, Nikon D90, and Sony NEX5 cameras when connected through USB.
  • Unable to import both RAW + JPEG files when using the built-in SD card reader on Macbook laptops.
  • Lightroom 4 and ACR 6.7 could render files differently.

The following issues were fixed in Lightroom 4.1 release candidate 1 (March 29, 2012):

  • Point Curve adjustments made in Lightroom 3 and before have been restored.
  • Lightroom 4 did not properly open external applications when using the “Edit In” functionality.
  • Addressed performance issues in Lightroom 4, particularly when loading GPS track logs, using a secondary monitor, and the controls within the Develop module.
  • Ability to update DNG previews and metadata for more than 100 photos has been restored.
  • This update allows for improved viewing of subfolders and stacks in folders with a large number of photos.
  • It was possible that a layout of a saved book could be lost after quitting Lightroom 4.
  • Please provide feedback on your experience with the Lightroom 4.1 Release Candidate in our Feedback Portal.

New Camera Support in Lightroom 4.1 Release Candidates

  • Canon EOS 5D Mark III*
  • Canon EOS 60Da
  • Fuji FinePix F770EXR
  • Fuji FinePix F775EXR
  • Nikon D3200
  • Olympus OM-D E-5M
  • Panasonic Lumix DMC-GF5
  • Pentax K-01
  • RICOH LENS A16 24-85mm F3.5-5.5
  • Samsung NX20
  • Samsung NX210
  • Samsung NX1000
  • Sony Alpha NEX-VG20
  • Sony SLT-A57

*Support for the 5D Mark III was also included in the first Lightroom 4.1 Release Candidate

NOTE: The Lightroom and Camera Raw team is well aware of the new X-Pro1 camera from FUJIFILM.  We are currently developing raw support for the X-Pro1 and look forward to providing it as soon as support is complete.  Thanks for your patience on this topic.

Release Notes

  • Lightroom 4.1 RC2 now includes the ability to process HDR TIFF files.  (16, 24 or 32-bit TIFF files)  This can be quite useful if you have merged multiple exposures into a single 32-bit image using Photoshop’s HDR Pro.  Using the new basic panel controls can be a very effective and straightforward method of achieving an overall balance across the tonal range.
  • Additional Color Fringing corrections have been added to Lightroom 4.1 RC2.  Please see this blog post for additional details.

Thank You

A big thanks to everyone who submitted bug reports, posted entries in the U2U forums and blogged their issues so that we could improve the Lightroom 4 experience in this update.

New Color Fringe Correction Controls

One of the new enhancements to Lightroom 4.1 RC2 is the addition of new color fringe correction controls. What exactly is a color fringe correction? This blog post is intended to explain the problem and the solution we’ve provided in Lightroom 4.1.(For ACR customers it will also be included an upcoming version of ACR7 for Photoshop CS6, currently available as a public beta)

The content in this post has been written by Eric Chan, the developer primarily responsible for implementing the solution. (Photos have been attributed where requested.)

Overview

Red-green and blue-yellow fringes at the image periphery result from lateral chromatic aberration. This problem is relatively easy to fix, and ACR & LR already have tools to do so. On the other hand, purple and green fringes in out-of-focus areas and along high-contrast boundaries are much more problematic. These fringes result from axial chromatic aberration (wavelength-dependent focus shift), aberrations in sensor microlenses, and flare. In most cases, purple fringes appear in front of the plane of focus, and green fringes appear behind the plane of focus. The aberrations can happen anywhere in the image, not just the image periphery. Sometimes, they are so strong that they’re easily spotted in small previews, such as proxies and thumbnails (thus, not only visible at 100% pixel view!). Axial CA affects nearly all lenses, from inexpensive cell phone lenses to very expensive top-of-the-line lenses. It is particularly pronounced with fast lenses at wide apertures. Hence, an improved defringe control should appeal to photographers shooting portraits, events, weddings, sports, etc. — anytime that high-speed lenses are used.

Example

Example 1: Backyard
The branches and leaves have very strong purple fringing, visible even in the small overview image.Overview, original: Screen Shot 2012 04 25 at 3 01 20 PMOverview, with defringe: Screen Shot 2012 04 25 at 3 01 29 PMCloseup, original: Screen Shot 2012 04 25 at 3 01 40 PMCloseup, with defringe: Screen Shot 2012 04 25 at 3 01 50 PM

Color Fringing Defined

Types of Fringing

  • Color fringing (usually visible on high-contrast edges in the image) can result from several physical phenomena:
    1. Lateral (transverse) chromatic aberration (red/green fringes, blue/yellow fringes),
    2. Axial (longitudinal) chromatic aberration (purple and green fringes),
    3. Flare due to lens-lens and sensor-lens reflections (ghost images), and
    4. Charge leakage in CCD sensors (thin purple fringes).
  • Adobe’s existing “Remove Chromatic Aberration” checkbox (introduced in Camera Raw 7.0 and Lightroom 4.0), and its predecessors (Profile-based “Chromatic Aberration” slider, and manual Chromatic Aberration sliders) handles issue #1 (lateral CA) only.
  • The previous Defringe popup menu (Off / Highlight Edges / All Edges) in Camera Raw 7.0 and Lightroom 4.0 handles issue #4 (CCD charge leakage) only.
  • Up till now, Adobe did not have solutions for problems #2 (axial CA) and #3 (flare).

Notes on Axial (Longitudinal) CA

The new Defringe controls are designed to fix axial (longitudinal) CA, color aberrations due to ghosting or flare, and color aberrations (thin fringes) due to charge leakage, which affects some CCD sensors.  Here’s some context on axial/longitudinal CA:

  • It can happen anywhere in the image (not just image borders).
  • It affects nearly all “fast” (wide aperture) lenses, typically most visible at the wider apertures (e.g., f/1.4 thru f/2.8).
  • Fringes become less visible as you stop down the lens (e.g., more visible at f/2, less visible at f/8).
  • Fringes are usually most visible just in front of or just behind the plane of focus.
  • Fringes typically appear purple/magenta when they’re in front of the plane of focus, and appear green when they’re behind the plane
  • of focus.
  • Even at the plane of focus, high-contrast edges (especially backlit) may show purple fringes due to flare.

How to use the new Defringe Controls

Slider Overview

There are 4 sliders:

  • Two amount sliders (Purple Amount, Green Amount). These are normal sliders.
  • Two hue sliders (Purple Hue, Green Hue). These are “split” sliders.

The two “Purple” controls are intended to be used to remove purple fringing (regardless of the cause).

The “Purple Amount” slider determines the strength of the purple fringe removal. The range is 0 to 20, with default 0 (which means disabled). Higher values mean stronger correction, but may also negatively impact colors of real purple objects in your image. Note that fringe removal is limited to the hue range defined by the Purple Hue slider (see below).The “Purple Hue” slider determines the range of hues removed. This control has two knobs, which determine the endpoints of the hue range.

  • Click-and-drag either knob to adjust one endpoint at a time.
  • Click-and-drag the central bar (the part of the slider between the two knobs) to move both endpoints at the same time.
  • Double-click a knob to reset its value to the default.
  • Double-click the central bar to reset both endpoints to the default.
  • The minimum spacing between the endpoints is 10 units. Hence, dragging the left knob too close to the right knob will cause the right knob to move automatically, to preserve the minimum spacing of 10 units.

The Green Amount and Green Hue sliders work similarly for green fringes. However, the default range for the Green Hue slider is 40 to 60 (narrower range) instead of 30 to 70. This is to help protect common green and yellow colors (e.g., foliage) by default.

These controls are best used when viewing an image closely (e.g., 100% or higher).

Option-Key Feedback (Visualization) for Global Controls

Alt/Option-key visualization is available for all 4 controls. I highly recommend using these visualizations to help set the slider values appropriately:

Option-key + click-and-drag on the Purple Amount slider to visualize purple fringe removal. The preview window shows only the affected areas of the image (all other areas will be shown as white). This lets you concentrate on the affected areas and verify that the purple fringe color gets removed.

Option-key + click-and-drag on the Purple Hue slider (either knob, or the central bar) to visualize the range of hues to be defringed. The preview window “blacks out” the affected hue range. Pay attention to the borders of the “blacked out” area and check if there are any residual purple/magenta colors.

Works similarly for the Green Amount and Green Hue sliders.

Description of Eyedropper Tool

The 4 global Defringe controls above are powerful, but new users may find them tricky to learn. For this reason, there is an “eyedropper”tool so that users can click directly on the image to help set the appropriate parameters.

Using the eyedropper for Defringe is similar to using the eyedropper to using the White Balance selection eyedropper: when you’re in the LensCorrections -> Color tab (so that the Defringe controls are visible), select the eyedropper and click on a fringe in the image.  It helps to be zoomed in (e.g., 200% or even 400%) to facilitate accurate color picking.
Clicking on a pixel will cause the Defringe system to perform a local analysis of the pixels in the neighborhood, resulting in one of the following 3 outcomes:

  • It determines that you clicked on a purple fringe, and it  automatically adjusts both the Purple Amount and Purple Hue  sliders.
  • It determines that you clicked on a green fringe, and it  automatically adjusts both the Green Amount and Green Hue sliders.
  • It determines that you clicked on an area that was too neutral or outside the supported color range (e.g., all white or gray area or an orange color) and reports an error message.

While moving the eyedropper tool over the image, you will see the eyedropper icon change to purple or green and the Purple Hue or Green Hue slider highlighting.  This shows approximately what hue you’re currently targeting, and which of the two fringe colors (purple or green) would be adjusted if you were to click.

Press ESC or Return/Enter to dismiss the eyedropper sampling window once you have done with the selecting the purple and green fringe colors.

Description of Local Defringe Control

The global Defringe control is sufficient in many cases, but sometimeslocal refinement is required. One reason is the need to “protect”certain scene colors (prevent them from being defringed). Another reason is to help suppress some minor residual fringing in aparticular area. For these reasons, Defringe is also available as a local adjustment.
Details:

  • Available as a brush or gradient (as with all our local adjustment channels).
  • Only available in PV 2012.
  • Standard range is -100 to +100, default 0.
  • Minus direction (towards -100) means “do not apply defringe to the affected area.” This is a way for the user to “protect” certain image areas from being incorrectly defringed. For    example, applying a strong purple fringe removal may indeed effectively remove those fringes, but it may also desaturate or otherwise (undesirably) alter edges of purple objects in your    picture. Painting with Defringe -100 over those areas will completely protect them and keep them at their original color.
  • Positive direction (towards +100) means “apply additional defringing to the affected area.” This is a way for the customer to fine-tune and take care of small problem areas.
  • For images that have only limited color fringe problems in a specific area, it may actually be easier (both faster and safer) to use the local Defringe control.
  • Note that local +Defringe will remove fringes of all colors (not just purple and green) and hence is independent of the global Purple Hue and Green Hue settings.
  • The maximum strength of local +Defringe is limited (not nearly as strong as global defringe), so for extreme cases you will need to use the global Defringe instead. (In general, I       recommend using global Defringe first anyways, then following up local Defringe if needed.)

Suggested Workflow

1. Do overall color and tone corrections first (e.g., Basic panel, Tone Curve panel, etc.).
2. Turn on profile-based lens corrections (for distortion and vignetting), if needed.
3. Turn on lateral CA correction (check the “Remove Chromatic Aberration” box), if needed.
4. Apply global Defringe, if needed.
5. Apply local Defringe, if needed.

Additional Examples

Example 2: Cake 
I focused in the middle of the letters on the cake. The letters in front have purple fringes (“Meghna”), and the letters in back have green fringes (“Happy”), with some alternating green-magenta bands. These are typical symptoms of axial chromatic aberration. With the new defringe filter, the purple and green fringes are largely reduced. Note that this is not a straightforward desaturation (which would turn the letters and cake gray).

Overview of image: Screen Shot 2012 04 25 at 2 49 03 PM

Closeup, original: Screen Shot 2012 04 25 at 2 49 16 PM
Closeup, with defringe: Screen Shot 2012 04 25 at 2 49 25 PM
Example 3: Champagne
Similar situation. The closeup shows mild purple fringing on the closer letters, and much stronger green fringing on the letters around the side of the bottle (just behind the plane of focus). Also, the circular out-of-focus highlights in the background have a green outline. These issues are largely reduced with the new defringe filter.
Overview, original (color fringing on bottle letters slightly visible even at this size): Screen Shot 2012 04 25 at 2 57 45 PMCloseup, original: Screen Shot 2012 04 25 at 2 57 54 PMCloseup, with defringe: Screen Shot 2012 04 25 at 2 58 08 PMCloseup #2, original: Screen Shot 2012 04 25 at 2 58 24 PMCloseup #2, with defringe: Screen Shot 2012 04 25 at 2 58 33 PM

Example 4: Water 
The water spray shows very strong green and purple fringes, even in the small overview image — yikes! The foreground elements (such as the railing) also show purple fringes, since they’re in front of the plane of focus.  Special thanks Stanislas Chevallier for providing our engineering team with this example and providing us with permission to post the image here.  His work can be found on Flickr: http://flickr.com/chegayvara

Overview, original: Screen Shot 2012 04 25 at 3 03 48 PMOverview, with defringe: Screen Shot 2012 04 25 at 3 03 57 PMCloseup #1, original: Screen Shot 2012 04 25 at 3 04 06 PMCloseup #1, with defringe:

Screen Shot 2012 04 25 at 3 04 14 PM

Closeup #2, original: Screen Shot 2012 04 25 at 3 04 23 PMCloseup #2, with defringe: Screen Shot 2012 04 25 at 3 04 30 PMExample 5: Boy
There is visible purple fringing on his hat and shirt. He may have the blues, but he shouldn’t have the purples. ;-) There is also green fringing on the highlights of the car in the background.Overview, original: Screen Shot 2012 04 25 at 3 16 35 PM
Closeup, original: Screen Shot 2012 04 25 at 3 16 43 PMCloseup, with defringe: Screen Shot 2012 04 25 at 3 16 52 PMCloseup #2, original: Screen Shot 2012 04 25 at 3 17 02 PMCloseup #2, with defringe: Screen Shot 2012 04 25 at 3 17 12 PM

 

Lightroom 4.1 Now Available on Adobe Labs

Lightroom 4.1 is now available as Release Candidates on Adobe Labs.   The ‘release candidate’ label indicates that this update is well tested but would benefit from additional community testing before it is distributed automatically to all of our customers.  The final release of Lightroom 4.1 may have additional corrections or camera support.

Bugs Corrected in Lightroom 4.1 Release Candidate

The following bugs that were part the Lightroom 4 releases have been corrected. The team appreciates the very detailed feedback the community has provided on Lightroom 4 and we’re excited to correct a number of issues experienced by our customers. These issues have been FIXED:

  • Point Curve adjustments made in Lightroom 3 and before have been restored.
  • Lightroom 4 did not properly open external applications when using the “Edit In” functionality.
  • Addressed performance issues in Lightroom 4, particularly when loading GPS track logs, using a secondary monitor, and the controls within the Develop module.
  • Ability to update DNG previews and metadata for more than 100 photos has been restored.
  • This update allows for improved viewing of subfolders and stacks in folders with a large number of photos.
  • It was possible that a layout of a saved book could be lost after quitting Lightroom 4.
  • Please provide feedback on your experience with the Lightroom 4.1 Release Candidate in our Feedback Portal.

New Camera Support in Lightroom 4.1 Release Candidate

  • Canon EOS 5D Mk III

Thank You

A big thanks to everyone who submitted bug reports, posted entries in the U2U forums and blogged their issues so that we could improve the Lightroom 4 experience in this update.

Raw support in Lightroom and Camera Raw

There have been a number of questions around raw support for Lightroom and the Camera Raw plug-in.(ACR) Below is a list of new support by version. (Skip the background if you just need to know if your camera is supported)

Background
It’s a busy time of year for the team as we just released Lightroom 4, the Photoshop CS6 beta was introduced last week and some of the new flagship cameras are beginning to have broader availability.  Our consistent goal is to provide new camera support as quickly as possible.  We also try to keep it simple by aligning Lightroom and ACR updates both in terms of timing and camera support.  However for the few months around the launch of Lightroom 4 and Photoshop CS6, we forfeited alignment in favor of getting support out as quickly as possible.  That’s why the ACR6.7 release candidate supports the 5D Mk III but the Lightroom 4.0 release does not.   You’ll also note that ACR7 available with Photoshop CS6 beta, is lagging the most in updated camera support.  This is based on when we lock down or “bake” the code for each release.   Even though ACR7 was only released last week it was “baked” before Lightroom 4.0 and Camera Raw 6.7.  Similarly, Lightroom 4.0 was finalized before Camera Raw 6.7.  We’ll get Lightroom and Camera Raw in sync soon but in the interim, here’s the latest incremental support list for each product, relative to Camera Raw 6.6 and Lightroom 3.6:

Photoshop CS6 beta with ACR7

  • Canon PowerShot S100V
  • Fuji FinePix X-S1

Lightroom 4.0

  • Canon EOS 1D X
  • Canon PowerShot G1 X
  • Canon PowerShot S100V
  • Fuji FinePix F505EXR
  • Fuji FinePix F605EXR
  • Fuji FinePix HS30EXR
  • Fuji FinePix HS33EXR
  • Fuji FinePix X-S1
  • Nikon D4
  • Nikon D800
  • Nikon D800E

Photoshop CS5 with ACR6.7 (Release Candidate) and Lightroom 4.1 Release Candidate

  • Canon EOS 1D X
  • Canon EOS 5D Mk III
  • Canon PowerShot G1 X
  • Canon PowerShot S100V
  • Fuji FinePix F505EXR
  • Fuji FinePix F605EXR
  • Fuji FinePix HS30EXR
  • Fuji FinePix HS33EXR
  • Fuji FinePix X-S1
  • Nikon D4
  • Nikon D800
  • Nikon D800E

Additional Notes:

  • If you need access to the latest camera support and your current Adobe product does not have support, the DNG Converter 6.7 is a free application that will convert that latest camera support above from a proprietary format to the DNG format that can be read in earlier versions of Adobe’s products. (The DNG Converter is the second option on the download page of the 6.7 release candidate site)
  • For those that have been asking, Canon EOS 5D Mk III support will be added to the next update to Lightroom this week.
  • Lightroom 3.6 is the last update to Lightroom 3.  New camera support will only be added to Lightroom 4 going forward.
  • And yes, we are aware of the existence of the Fuji X-Pro1 camera and like all new camera models we are working to add support as quickly as possible.

Thanks for everyone’s patience and support during a busy and exciting season for new cameras and software.