Author Archive: Tom Hogarty

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.

Lightroom 4 Hot Issues

Update – Lightroom 4.1 Release Candidate is now available and helps address many of the concerns listed here.  Please visit http://labs.adobe.com/technologies/lightroom4-1/ to download and install Lightroom 4.1 RC.

 

The team would like to provide an update on several issues discovered since last Monday night’s launch. Thanks for your patience while we investigated and compiled this list.  

Point Tone Curve Migration
In Lightroom 3, the Tone Curve panel added a “point curve” adjustment option in addition to the default parametric curve.  When a customer upgrades their Lightroom 3 catalog to Lightroom 4, any images with point curve adjustments will lose those specific settings.  This is a high severity bug and we are working hard to provide a solution as quickly as possible.  Several members of the community have already started helping us test a fix that can be applied to an upgraded Lightroom 4 catalog.  We’ll be providing updates via this blog and the following Lightroom Feedback thread.

“Edit in” Workflow for External Editors/Plug-ins
There is a bug on both Mac and Windows that can cause the “Edit in…” workflow to fail for third party applications and plug-ins.  Many of our customers working with Nik plug-ins have found that they’re unable to launch their plug-ins from within Lightroom 4. (This is more prevalent on Windows)  We are testing a solution for this problem and it will be included in our next update.  Feedback on this bug is captured here.

Edit in Photoshop Workflow
Currently, the Edit in Photoshop workflow asks that you have the Camera Raw 7 plug-in installed.  Please note that the Camera Raw 7 plug-in is not available at this time.  The correct plug-in for Lightroom 4 and Photoshop CS5 compatibility is Camera Raw 6.7, currently available on Adobe Labs Please keep in mind that currently Camera Raw 6.7 is a a Release Candidate version of the plug-in. A “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.

Reverse Geocoding Delays
We had a temporary loss of reverse geocoding results on Tuesday.  This problem has been resolved and we’re monitoring the issue with Google’s help.

Serial Number Delivery from Adobe.com Store
A small group of customers that ordered Lightroom 4 as a software download(not a boxed copy) on Tuesday or Wednesday did not receive serial numbers.  We’ve corrected the error and we’ll be monitoring this issue going forward.  If you’re included in that group and have not received a serial number yet, please contact Jeff Tranberry, our Chief Customer Advocate, with your order number and any support case numbers you have.

Upgrade Details
We’ve had several questions around who is eligible for an upgrade to Lightroom 4.  Any Lightroom 1, 2 or 3 version of Lightroom, education editions included, can utilize the upgrade version of Lightroom 4.  The prior version of Lightroom does not need to be installed on the computer, however you will need the prior version serial number at the time of installation of Lightroom 4. (If the prior version is still installed on the computer, Lightroom 4 will automatically pick up that serial number so you don’t need to go digging through boxes or your email)

Upgrade policy for those that just purchased LIghtroom 3
We’ve seen quite a few questions from those who have just purchased Lightroom 3.  If you purchased Lightroom 3 very recently you may be eligible for a complimentary upgrade to Lightroom 4: http://www.adobe.com/go/pa 

We’re listening
If you have additional workflow or how-to questions visit our user community on Adobe.com: http://forums.adobe.com/community/lightroom

To report Issues or Ideas on how to improve Lightroom, visit our Feedback Site on Photoshop.com: http://feedback.photoshop.com/

Lightroom 4.0 Now Available

The Lightroom team is proud to announce the availability of Lightroom 4.0.  With over 300,000 downloads of the Lightroom 4 public beta we’ve heard some resounding feedback that photographers would like to start using Lightroom 4 on a daily basis and migrate their previous Lightroom work to this latest version.  We’re also excited to announce new pricing for Lightroom 4: $149 for those new to Lightroom and $79 for the Upgrade and Student/Teacher editions.  (You can upgrade from any version of Lightroom to Lightroom 4)

Download Lightroom 4.0
Get Started with Julieanne Kost’s fantastic video tutorial series

Changes since the public beta:

  • Reverse geocoding now available in the Map Module
  • Revamped and improved auto tone in Develop based on new controls
  • Increased range of local white balance controls (temperature and tint)
  • Updated Develop presets plus added new presets for video
  • Maximum Blurb book size is now 240 pages
  • Over 800 bugs found and fixed! (Thank you Lightroom 4 beta customers!)

Important Release Notes

  • We found a late bug in the Lightroom 4 book module that would cause text errors if Courier New, Times or Callibri is the selected font.  Please preview your books as a PDF before submitting to blurb when using those fonts
  • Norton Antivirus 2012 incorrectly flags video related program files in Lightroom 4 as possible threats. Please instruct Norton Antivirus 2012 to exclude Lightroom 4 files from its scan.
  • McAfee Virus Scan prevents emails from being sent from Lightroom 4. Please instruct McAfee Virus Scan to exclude Lightroom 4 files from its scan.
  • AVCHD support is limited to MTS and M2TS video files. Dedicated video editors (such as Premiere Pro) may need the AVCHD file structure to process the files.
  • Lightroom can sometimes crash when printing to PDF in Windows 7. Lowering the resolution of the PDF in the print driver can help mitigate this.

New Camera Support in 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

New Lens Profiles Supported in Lightroom 4.0

Lens Mount Lens Name
Canon Tokina AT-X 124 AF PRO DX 12-24mm f/4 (IF)
Canon Tokina AT-X 124 AF PRO DX II 12-24mm f/4 (IF)
Canon Tokina AT-X 165 PRO DX 16-50mm f/2.8 (IF) ASPHERICAL
Canon Tokina AT-X 535 PRO DX  50-135mm f/2.8 (IF)
Canon Tokina AT-X M35 PRO DX 35mm f/2.8 Macro
Canon Tokina AT-X M100 AF PRO D 100mm f/2.8 Macro
Canon Tokina AT-X 116 PRO DX 11-16mm f/2.8
Nikon Tokina AT-X 124 AF PRO DX 12-24mm f/4 (IF)
Nikon Tokina AT-X 124 AF PRO DX II 12-24mm f/4 (IF)
Nikon Tokina AT-X 165 PRO DX 16-50mm f/2.8 (IF) ASPHERICAL
Nikon Tokina AT-X 535 PRO DX  50-135mm f/2.8 (IF)
Nikon Tokina AT-X M35 PRO DX 35mm f/2.8 Macro
Nikon Tokina AT-X M100 AF PRO D 100mm f/2.8 Macro
Nikon Tokina AT-X 116 PRO DX 11-16mm f/2.8
Nikon Nikon AF-S NIKKOR 85mm f/1.8G
Nikon Sigma 18-200mm F3.5-6.3 II DC OS HSM
Leica LEICA APO-SUMMICRON-M 75 mm f/2 ASPH.
Leica LEICA APO-SUMMICRON-M 90 mm f/2 ASPH.
Leica LEICA APO-TELYT-M 135 mm f/3.4 ASPH.
Leica LEICA ELMAR-M 24 mm f/3.8 ASPH.
Leica LEICA ELMARIT-M 28 mm f/2.8 ASPH.
Leica LEICA ELMARIT-M 90 mm f/2.8
Leica LEICA MACRO-ELMAR-M 90 mm f/4
Leica LEICA NOCTILUX-M 50 mm f/0.95 ASPH.
Leica LEICA SUMMARIT-M 35 mm f/2.5
Leica LEICA SUMMARIT-M 50 mm f/2.5
Leica LEICA SUMMARIT-M 75 mm f/2.5
Leica LEICA SUMMARIT-M 90 mm f/2.5
Leica LEICA SUMMICRON-M 28 mm f/2 ASPH.
Leica LEICA SUMMICRON-M 35 mm f/2 ASPH.
Leica LEICA SUMMICRON-M 50 mm f/2
Leica LEICA SUMMILUX-M 21 mm f/1.4 ASPH.
Leica LEICA SUMMILUX-M 24 mm f/1.4 ASPH.
Leica LEICA SUMMILUX-M 35 mm f/1.4 ASPH.
Leica LEICA SUMMILUX-M 50 mm f/1.4 ASPH.
Leica LEICA SUPER-ELMAR-M 18 mm f/3.8 ASPH.
Leica LEICA SUPER-ELMAR-M 21 mm f/3.4 ASPH.
Pentax Sigma 17-50mm F2.8 EX DC HSM
Pentax Sigma 50-200mm F4-5.6 DC HSM
Sony Tokina AT-X 116 PRO DX 11-16mm f/2.8
Sony Tamron 18-200mm F/3.5-6.3 Di III VC B011
Sony Sigma 17-50mm F2.8 EX DC HSM
Sony Sigma 50-200mm F4-5.6 DC HSM
Sigma Sigma 18-200mm F3.5-6.3 II DC OS HSM

 

Thank You

The Lightroom team would thank our community of photographers for participating in the Lightroom 4 public beta.  We would also like to thank those “Most Valuable Contributors” who have worked very hard to provide guidance, plug-ins and support via various online forums.  MVC support has been crucial in helping many of our new customers and beta customers understand and learn all of the new features and functionality in Lightroom.

Adobe Camera Raw 6.7 and DNG Converter 6.7 Available on Adobe Labs

Camera Raw 6.7 is now available as a Release Candidate 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 Camera Raw 6.7 may have additional corrections or camera support.

New Camera Support in the Camera Raw 6.7 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

New Lens Profile Support in the Camera Raw 6.7 Release Candidate

Lens Mount Lens Name
Canon Tokina AT-X 124 AF PRO DX 12-24mm f/4 (IF)
Canon Tokina AT-X 124 AF PRO DX II 12-24mm f/4 (IF)
Canon Tokina AT-X 165 PRO DX 16-50mm f/2.8 (IF) ASPHERICAL
Canon Tokina AT-X 535 PRO DX  50-135mm f/2.8 (IF)
Canon Tokina AT-X M35 PRO DX 35mm f/2.8 Macro
Canon Tokina AT-X M100 AF PRO D 100mm f/2.8 Macro
Canon Tokina AT-X 116 PRO DX 11-16mm f/2.8
Nikon Tokina AT-X 124 AF PRO DX 12-24mm f/4 (IF)
Nikon Tokina AT-X 124 AF PRO DX II 12-24mm f/4 (IF)
Nikon Tokina AT-X 165 PRO DX 16-50mm f/2.8 (IF) ASPHERICAL
Nikon Tokina AT-X 535 PRO DX  50-135mm f/2.8 (IF)
Nikon Tokina AT-X M35 PRO DX 35mm f/2.8 Macro
Nikon Tokina AT-X M100 AF PRO D 100mm f/2.8 Macro
Nikon Tokina AT-X 116 PRO DX 11-16mm f/2.8
Nikon Nikon AF-S NIKKOR 85mm f/1.8G
Nikon Sigma 18-200mm F3.5-6.3 II DC OS HSM
Leica LEICA APO-SUMMICRON-M 75 mm f/2 ASPH.
Leica LEICA APO-SUMMICRON-M 90 mm f/2 ASPH.
Leica LEICA APO-TELYT-M 135 mm f/3.4 ASPH.
Leica LEICA ELMAR-M 24 mm f/3.8 ASPH.
Leica LEICA ELMARIT-M 28 mm f/2.8 ASPH.
Leica LEICA ELMARIT-M 90 mm f/2.8
Leica LEICA MACRO-ELMAR-M 90 mm f/4
Leica LEICA NOCTILUX-M 50 mm f/0.95 ASPH.
Leica LEICA SUMMARIT-M 35 mm f/2.5
Leica LEICA SUMMARIT-M 50 mm f/2.5
Leica LEICA SUMMARIT-M 75 mm f/2.5
Leica LEICA SUMMARIT-M 90 mm f/2.5
Leica LEICA SUMMICRON-M 28 mm f/2 ASPH.
Leica LEICA SUMMICRON-M 35 mm f/2 ASPH.
Leica LEICA SUMMICRON-M 50 mm f/2
Leica LEICA SUMMILUX-M 21 mm f/1.4 ASPH.
Leica LEICA SUMMILUX-M 24 mm f/1.4 ASPH.
Leica LEICA SUMMILUX-M 35 mm f/1.4 ASPH.
Leica LEICA SUMMILUX-M 50 mm f/1.4 ASPH.
Leica LEICA SUPER-ELMAR-M 18 mm f/3.8 ASPH.
Leica LEICA SUPER-ELMAR-M 21 mm f/3.4 ASPH.
Pentax Sigma 17-50mm F2.8 EX DC HSM
Pentax Sigma 50-200mm F4-5.6 DC HSM
Sony Tokina AT-X 116 PRO DX 11-16mm f/2.8
Sony Tamron 18-200mm F/3.5-6.3 Di III VC B011
Sony Sigma 17-50mm F2.8 EX DC HSM
Sony Sigma 50-200mm F4-5.6 DC HSM
Sigma Sigma 18-200mm F3.5-6.3 II DC OS HSM

Camera Raw 6.7 Release Notes

  • Camera Raw 6.7 is required for full compatibility between Lightroom 4.0 and Photoshop CS5
  • Camera Raw 6.7 and DNG Converter 6.7 are the first Adobe products to support the raw files from the Canon EOS 5D Mk III.  Lightroom 4.0 does not have support for the camera at this time.
  • Please provide feedback on your experience with the Camera Raw 6.7 plug-in and the DNG Converter on the Camera Raw User to User forum.

Magic or Local Laplacian Filters?

The Lightroom and Camera Raw team has been very pleased with all of the positive feedback on the new image processing(PV2012) available in the Lightroom 4 beta. (It will also be available in the next major version of the Camera Raw plug-in)  The ability to recover shadow and highlight detail with a straightforward set of controls without introducing artifacts or over-the-top faux-HDR effects is a huge leap forward in image processing.  I thought Scott Kelby summed it up quite well when he said, “Your photos look better processed in Lightroom 4. Period.”  Often, when a product from the Photoshop family produces something incredible, it’s referred to as magic.   However, the real magic is how the talented engineers at Adobe convert cutting edge research into elegant, easy to use software solutions.

The cutting edge research in this case is a paper titled, Local Laplacian Filters: Edge-aware Image Processing with a Laplacian Pyramid.   The title is certainly a mouthful and the body of the paper will be difficult to comprehend unless  you’ve spent a fair amount of time with equations that contain more Greek letters than numbers.  But don’t let the complexity prevent you from downloading the paper and perusing some of the sample images that demonstrate the challenges and results using various processing techniques.  The research is so impressive that it was published in SIGGRAPH 2011*, a prestigious journal in the computer graphics industry.

Why am I sharing this very technical piece of information?  The team would like to share the praise that we’re receiving for the new processing controls with the authors of this research paper:

Sylvain Paris
Adobe Systems, Inc
Samuel W Hasinoff
Toyota Technological Institute at Chicago and MIT CSAIL
Jan Kautz
University College London

 

Note: There is also some contributing knowledge from this paper as well: http://dspace.mit.edu/handle/1721.1/67030 

ACM Transactions on Graphics (Proceedings of SIGGRAPH 2011).