New Adaptive Profiles in ACR Adobe Camera Raw make photos better by using ai to analyze each photo, rather than apply a blanket profile to all photos. Because each photo is unique, this will get you way better results than if you don’t use it.

Ill add full written steps here soon!

The post Adaptive Profiles in Adobe Camera RAW – perfect starting place for photos appeared first on PhotoshopCAFE.

Its that time of the year for the big upgrades. Big, as in they get full version numbers. Generally many beta features are now promoted to full features and new ones added.

There are a lot of performance improvements in LRC this time around and if you have modern computer, you should notice them. Modern, because more stuff is pushed to GPU.

The first thing you will need to do, is upgrade your catalog when you first launch.

This brings us to the first new feature, which is an unseen one. Lightroom automatically creates a backup of your old catalog now.

Another “small” but big to some people (I’m one of them) the long-awaited ability to easily rename your catalog. I know, I know, why did that take so long?

Now, when you rename your catalog, all the supporting files will be renamed including the ability to rename the parent folder. No more Lightroom_199_main-v13-3_v6_really_the_new_updated_2023_update filenames!

You can see everything is now renamed. You can also delete your old catalogs as you can see the names clearly now. (Tip: Before deleting old catalogs, I suggest moving them to a different folder and make sure everything works on the new catalogs before emptying out the old ones).

Choose Photoshop version

This isn’t new, but I want to include it because I am asked this ALL the time.

If you go to settings, you can choose the version of Photoshop  (regular or Beta) to edit in from the External Editing tab. If this doesn’t work, launch the version of Photoshop you want to work in first. Then when you choose edit in Photoshop, it should go to the correct one.

Remove Tool updates

Same as in ACR the ai remove tool is updated.

You can circle select

It will detect the shape, you can keep painting to add other objects, or hold alt/Option and paint to remove from the selection.

Click on remove

And it does a great job. Use variations arrow to choose the best one.

You can also scribble select to tell Lightroom which object you want to select for removal.

It works quite well.

And a bit more clean up

done.

This works best in smaller areas on images that you will print, because the resolution isn’t large enough for areas bigger than 1024 px x 1024 px at a time. You can safely using it on multiple small areas to eventually encompass a larger area. If you are sharing them smaller for social media, it mostly doesn’t matter as much.

Tethered Capture updates for Nikon.

Nikon shooter rejoice! The same snazzy new tethering that was added for Sony is now here for Nikon. Expect drastically faster and more reliable performance when your Nikon camera is tethered.

Content Credentials

Content credentials allow you to add your information and links to your socials into your photographs. You can have the info on the Cloud, attached to your images or both. Now people can find and contact you if they like your images.

This is optional, and you can choose what info to include.

Noise Reduction. Denoise

The ai denoise for RAW photos is out of beta (early access)

Look at this noisy image.

Choose Denoise

You will see a preview

Without denoise

With

As you can see it does a terrific job.

Unlike in ACR, this is still using the earlier version of denoise, which creates a new file. Hopefully the new beta version of denoise in ACR makes it way over, but nevertheless it works really well.

HDR update Gain Map

Lightroom Classic has been getting HDR updates for a while now and I’ve made tutorials about them and told you about each update.

If you have an HDR enabled monitor, you can see HDR images have more detail in the highlights and look more vibrant and realistic. (you will notice this on the XDR phones and HDR TVs as well).

If you turn on SDR (Standard Dynamic Range) previews you can adjust the output for non HDR (High Dynamic Range) screens.

You may have wondered what happened to the 2 versions? Is it just a simulation? Now with Gain Maps, when you create an HDR image, both versions are included and the viewer will be shown the correct version depending on their display. You have to choose a compatible file format, such as Jpeg XL. You will enable HDR output. I should mention, a regular (SDR) photo won’t be magically converted to an HDR image. And, no (as I’ve been saying for YEARS) you cant process the same image differently and merge them together to get HDR images, you will just get a heavily tone mapped SDR image. I have written and made videos extensively about HDR if you need to get up to speed. 

Extended displays on additional monitors now support HDR as well, this is a good new feature for people using multiple HDR displays.

There you have it, those are the big new features in Lightroom Classic. Check out the video above to see them all in action,. as well as mention of a couple more smaller ones.

Thanks for checking it out

Colin

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Lets have a look at the new features in ACR 2025 aka ACR 17. Camera Raw comes with Photoshop and is accessablw either through Bridge or as a filter in Lightroom. There is a slight difference between the 2 and we will see what that is in a sec. Other thing, Lightroom Classic uses ACR as its processing engine. In this case, we have a couple of beta features in ACR that haven’t found their way into lightroom yet.

How to update Camera RAW

Let’s update to the latest version.

Launch the Creative Cloud app.

To update ACR, you update Photoshop. The latest version is part of the Photoshop installation.

When you update Photoshop, its a good idea to NOT remove old versions. I would make sure everything works first, and then uninstall the old version after a week or 2 when you are sure you don’t need it any more. Yes, you can have multiple versions installed at one.

You can Launch ACR as. filter in Photoshop. Filer>Camera Raw filter

But notice the crop tool and geometry are missing. So are the image sizing options at the bottom.
This is intentional, because as a filter, ACR can be run on a layer and you wouldn’t want to mess up your entire document, by resizing a layer.

If you want to run the “full” version of Camera Raw, either open a raw file from File open.. or you can launch a jpg, RAW, Tiff or png from Adobe Bridge. Right-Click  and choose Open in ACR.

Enabling the Beta Features

Some of the new features are turned off, lets enable them.

Launch the full ACR. Click on the gear in the top Right.

Go to Technology Previews>Turn on New features from Technology Previews

Denoise

The ai denoise may be the best feature in ACR.

Here is an image at 25,000 ISO and its very noisy (grainy).

In the detail tab there is a Denoise option.

It removes the noise really well. Whats new about this and  Raw Detail and Super Resolution, they are non destructive and a new file isn’t created any more. They work on the original file.

Its still limited support for file types, but more RAW formats are included now including Apple Pro Raw (iPhone) and google Pixel raw.

Adaptive Profiles

The new Adaptive profiles are great, especially for HDR images. This is an unedited, but merged HDR image.

Here you can see its using the default Adobe Color.

Change it to adaptive.

Immediately, the image looks better, this is before we have applied any adjustments yet.

Profiles arwe appl;ied before image adjustments, more about ACR / Lightroom Profiles here

Generative Expand

Normally, when you straighten a photo, it crops in to the photo and you lose some content around the edges.

If you turn on Enable Expand..

Now you can outcrop

Click on Generative Expand

All the transparent areas a filled with generated content. Now you can straighter or an image without losing and of the content.

Lets try it on a larger image. This is a stitched panorama.

As you can see, it can generate large areas with ai.  Be careful with this though, because the generated pixels are lower resolution, so this doesn’t match too well on a large image. You can see the grain mismatch around the edges. Hopefully this improves in the future.

Extending an image. We are adding more to the left and top of this image.

In this case, it looks pretty good. It helps when the extended area is smaller and less detailed.

Generative Remove

Gen Remove isn’t brand new in ACR, but it got some updates.

Turn the options on, like before

Now you can circle select

It will detect the object

And it nicely removes the back sign.

For the front one, we will use the other new feature, scribble select

It detects it nicely

And ai removes it.

You have 3 variations to choose from. You can see in the video.

Ok, thats our ACR updates this time around. There are also some new Adaptive Presets and a couple of other little things.

Hopefully you found this tutorial useful

Colin

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Adobe updated Camera Raw to Version 16.3 and added some nice new features. These features work exactly the same way in Lightroom Classic. The video goes quite in-depth, but I’ll keep these written steps brief because I have already covered them in my Lightroom write up which you can see here. As well as in-depth tutorials on individual tools.

Generative Remove

Generative remove uses firefly ai (same tool as Generative Fill in Photoshop) to remove and replace objects in a photo.

Bear in mind that maximum resolution generated in 1024×1024 pixels, so be careful when using on areas that will be OUTPUT larger than that. I emphasize this point because I’m seeing a bit of an overreaction to this. Unless you are printing your images, it isn’t as much of an issue for people, as some make out, because remember 1024px is close to the full resolution height when you output an image at full HD (1920 x1080) which is enough for online and social media sharing. But do check the final output to make sure there isn’t a softening or resolution mismatch. If you are concerned about this, or want print quality, then use the legacy tools or the remove tool in Photoshop which doesn’t’ have resolution limitations. Smaller patches are totally ok. Ok, having said that, let’s see how this works shall we?

Choose Filter>Camera RAW from Photoshop, or open as ACR from Bridge.

Click the eraser icon in the toolbar

You will see the remove panel.

If Generative ai is off, then the tool will work in legacy mode (How it used to work) If it is checked, it will use Generative ai, which requires and internet connection.

Object aware, will try to detect the edges and cover the object

Scribble select, or make a rough selection with Object aware on

It will do its best to select the object. It will make a selection slightly larger than the object, which you always want to do.

You will also notice it goes directly to the refine panel. (Hold Ctrl/Cmd to skip the panel)

Use the bush to refine the selection area (Some tips are in the video at the top).

Choose subtract to remove brush strokes

When you are ready, click apply

To bject will now be removed. Click through 3 variations to find the best one.

Lens Blur

I’ve covered  Lens Blur in depth on other tutorials.

Click apply in Lens Blur

The ai will detect you object and blur the background.

Under the hood (or bonnet) it will build a depth map to tell ACR where to blur. More on depth maps in a sec.

You can adjust the blu amount.

If you choose the target tool, you can click anywhere in the photo and that will become the sharpest part of the photo. Yes, this is like focusing the photo after you have taken it. (Remember, a blurry photo will still be blurry though, so nail that focus in camera!).

See the focal range.

If you move it to the left, it will focus closer to the viewer.

Move to the right and the focus will be further away from the viewer, with the close objects blurred.

If you make the slider more narrow, the focus area will be less, aka shallow depth of filed.

Widen the slider to expand the depth of field and have more of the photo sharp at once.

Lets look at that Depth map thing shall we?

Turn on Visualize Depth.

Now you see the depth map. The lighter areas are closer to you and the darker areas are further away.

The trees to the left are blurry but should be sharp.

Under refinement, choose focus

As you paint on the image, ypou can paint the areas that you want more in focus, or more out of focus.

See how the trees on the left are nice and sharp like they should be now.

If you look at the presets, you’ll see that there are new Adaptive presets for the blur. Adaptive means the ai adapts for each photo. Basically selecting the unique subject in each photo and then applying the preset blurs and settings.

Content Credentials

You can embed Content Credentials into the photo if you like. This is a way to protect you are the creator, as well as apply a layer of safety to viewers who need to know if ai was used on an image. It helps protect from deep fakes and reveals synthetic media.

Click the export button

You’ll see in the export panel, Content Credentials. Currently this is only working on jpg.

Producer, lets you attach your name. Connected Accounts, lets you link some of your social media accounts.

Edits and activity, embed any known edits or ai information.

You can store just locally and embed the data into the image, or into the cloud where the data will be attached to the image and recognized, even if its stripped locally. I haven’t tested the latter. Or you can use both options.

Save the image.

You can check any image on the Content Credentials Cloud. https://Contentcredentials.org/verify

You can test your image by dragging it into the website.

It will provide info on the image and also reveal if any editing has happened. Here i says ACR was used and ai was used.

More software and Hardware companies are building in Content Credentials as part of the CAI. Content Authenticity Initiative. Some of the partners include Adobe, Canon, Nikon, Leica, Getty, Microsoft, Nvidia, Qualcomm, arm, Reuters, universal pictures, Wall Street Journal, New York Times, and many, many more.

Eventually all image will be part of this and contain a pin that people can use to check if the image is real or not. Solving one of the big fears about ai generated content.

I hope this was a useful tutorial for you.

Great to see you here at the CAFE

Colin

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Lets take a deeper look into Generative Remove in Lightroom Classic. It works exactly the same in Camera Raw.

If you can’t upgrade Lightroom see this

Here is a photo with lots of extra people in it. Let’s remove them.

Object aware

Turn on Generative ai and Object aware from the Remove panel.

Scribble select the man in the corner

Because Object aware is on, the scribble select becomes a nice selection. You want to go over the boundaries a little with Gen remove.

When you apply, it removes the man nicely

Skip the Refine Panel

Scribble select while holding down the Ctrl/Cmd key to skip Refine

Now this man is instantly removed.

Because the resolution is 1024 x 1024 larger removals will leave a softer background. (1024 x 1024 is 3.5 inches at 300ppi)

You can use the stamp tool to fix the softer patch area, this is a lot easier now the ai removal has already taken place.

Variations

For the next removal, select the group of people in the left. Notice a potential problem; the back half of the dog os behind the group. What will happen?

Generative Remove, removes the people and generates the back half of the dog. So it is capable of generating things.

Click the variations button to cycle between 3 variations.

Choose “Refresh” if you don’t like any of the variations. Unlike Photoshop, Lightroom only holds 3 variations at a time. You can choose the history panel and access the other variations though.

Multiple ai patches at once

Notice the photo has raindrops on the lens. This would have rendered the photo useless in the past. With Generative Remove, we can now save the photo.

Turn off Object aware for this task

Use the [ and ] bracket keys to adjust the size of the brush.

Apply the brush to both rain drops.

Notice they are nicely removed.

If you look, you will see that 2 pins have been created. Each of the spots has aplied its own instance of Generative Remove. This means that each spot gets its own variations, as well as not sharing a large area with one fill which will limit the resolution.

Each spot has its own 3 variations to choose from.

Generative ai and Masks

Lets remove these people from an image that has already been editing with masks.

Select the people and apply the Generative Remove tool

Notice the people are removed, but it leaves behind artifacts.

This is because Gen Remove is working off the original image pixels.

The solution to to apply Generative remove at the beginning of the workflow.

If you have images that you already used masks on, not problem.

Click the ellipses menu and choose Update al masks.

The mask updates and now it looks nice.

I hope you enjoyed this deeper look in the new Generative Remove in Lightroom.

For more on the new features in this release (13.3) check out this tutorial

Great to see you here at the CAFE

Colin

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This tutorial in an overview of the newest Lightroom Classic features released this morning by Adobe. This tutorial shows you how to use the main new features in classic. Remember these are also in ACR, with the exception of Sony Tethered shooting. I’ll make more tutorials in the future and go more in depth on the relevant features.

Generative Remove (All Lightroom versions /Adobe Camera RAW)

If you go to the remove panel and choose the eraser option, you’ll see a box that says generative ai. The remove tool with use Generative fill when you have this option on. With it off, you can still use the tool in the old way. In the old way, it works well for smaller areas and doesn’t need cloud access.

Let’s test out Generative AI remove.

Paint over an area to remove. I’m removing the light stand.

The red shows the selected area. We have Object aware on, so it also detects the object we want to select, so your selections can be rough.

Once you paint, you will get the refinement, where you can add or remove brush strokes. (Hold Ctrl/Cmd key while applying to skip this option).

I added a little bit to the bottom left of the light stand.

Click the apply button in the remove panel to apply the Generative ai

As you can see, it did a superb job.

Click on Variations to cycle through 3 variations, just like Gen fill in Photoshop.

Just to test how well this works, let’s select our model. No, in real-life, we wouldn’t generally be removing the model, but this is a test, just to see if it can.

Click apply

Look at that. Pretty amazing!

Tethered Capture with Sony Cameras

I feel like hell froze over. Yes, we now have Sony cameras joining Canon and Nikon! Very unexpected (Sony are very tight on their APIs). And yet, very cool. See the Adobe sire for the supported cameras, just the newest ones right now.

I am using a Sony Alpha 1 (A1) to test this feature.

How to set up Sony Alpha cameras for Lightroom Tethered shooting

There are some settings you need to change on the camera for this to work.

Network>Smartphone Connect>Smartphone Connection>OFF

Network>Transfer/Remote>PC Remote Function>Connect Method>USB

Network>Transfer/Remote>PC Remote Function>PC Remote>ON

Once the camera is setup, plug in the USB-C cable from the camera to your computer.

Choose File>Tethered Capture>Start Tethered Capture

Start the tethered shoot

Choose the Session name and the location where the images will be saved.

Click ok

When your camera is detected, you’ll see a tether bar where you can change the settings and remote shoot by clicking the shutter button. You can, of course change the settings and shoot directly from the camera too.

If you click Live, a window will open where you get a live view from the camera.

From what I experienced, the shooting speed was faster than I expected, and very snappy transfer of the 50mp images, with very little lag. I did notice a but more lag when using the onscreen shutter button vs the physical shutter button on the camera. Another nice surprise, if I turned the camera off, I was able to reconnect without restarting the tether session. something I was not able to do with a Canon camera while tethered to Lightroom. I hope these newly updated settings in tethered shooting make it to Canon and Nikon too.

Updated Lens Blur

I’m not going to go too in-depth with Lens blur here because I already have a detailed tutorial on it here. 

We will touch on its functionality and then focus on the new features. Lens Blur is no longer an Early Access, it’s a finished feature now.

When you click on apply, Lightroom detects the subject and builds a depth map. It uses this to blur the background, or the foreground if you prefer. If there is already a depth map (smartphone shot in portrait mode), Lightroom will use this.

Turn on Visualize depth to see the depth map.

Darker colors are further away from the viewer, whereas lighter colors are closer.

The focal range now has Near and Far labels on the slider, as well as numbers. The bar on the left was added by me as a way to show the depth map..

Use the sliders (shown on the video, and the linked tutorial) to refine your depth map and adjust your bokeh and blur.

Syncing Lens Blur

The Lens blur can now be included in presets. These are called adaptive presets, because they will automatically adapt for the image and choose a unique subject for each and apply the preset settings.

When you copy the settings (Copy settings or Sync) you will see Lens Blur is now included.

Let’s choose a different photo of the cab in NYC.

Let’s paste the settings

Notice how the background is now blurred

The area in the window is missed.

You can easily modify the Lens blur settings after a preset has been used, or you copy or sync settings.

Simply go to lens blur, choose the blur refinement brush and paint in the wood to include it.

Alright!

Other features include a “Exported” label. This works in the attributes filter, in Smart Collections and collection that allow you to filter images by those that have been previously exported. There is also an alt tag and description filed added to the meta data.

Let me know in the Comments, which features you would like to see me go deeper into.

I hope this was useful!

Colin

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Lens Blur allows us to blur the background of a photo, to simulate using an expensive lens with a wider aperture. If you don’t have a nice lens, or you are working on existing photos, or photos supplied by someone else, this tool is very useful. Even if you shot with a nice lens, maybe you didn’t open it up when you took the shot, to you didn’t have a neutral density filter in strong light. There are many scenarios where you don’t have sufficient background blur on some photos. Let’s looks at all the features in this ai powered tool including how you can finesse the results. I hear mixed feeling on this, some people loving it and some hating it. Don’t worry about other peoples opinions, if you like this look, go for it!  Personally, I’m not a purest and I enjoy this feature. If you use it in a subtle way, it can produce very convincing results.

Adding background Blur

Let’s start with this picture I made of the cowboy in Santa Fe, New Mexico

Notice there  is a small amount of background blur, but not much.

Choose Lens Blur under the develop module.

When you turn on Apply, Lens Blur uses ai to detect the depth in the image and create a depth map. If the image was shot on a phone in portrait mode that makes a depth map, Lightroom/ACR will use that map.

See the icon of the head in white. This is focus on subject

Notice it detects the subject and blurs the background. Changing the blur amount effects how blurry the background it.

Generally, I add a little too much blur to start with, this makes it easy to see what we are doing and then, we roll the blur amount back at the end to a tasteful amount.

If you click the crosshair to the right of Focal Range, you can click on the photo. Wherever you click will become the area in focus.

When I click on the door its in focus.

Or the post in front of it.

You can also slide the box under Focal Range to change the focus, much like focusing a camera.

If you make the box longer, it extends the depth of field, making more of the photo in focus at once, like an f11 aperture or so.   Make the box more narrow for a shallow depth of field, like a f2.8. The video shows this clearly.

THe ai didi a decent job of selecting the subject (And in simpler photos, it’s pretty good. I chose this one with fine detail so we can see how to manually fix the selection)

The rope and the tip of hit hat needs some help.

Turn on Visualize depth to make it easier to see what’s going on.

The lighter areas are closer to the camera, whereas the darker areas are further away.

Lets manually adjust the selection.

Choose Focus to paint on the areas that should be sharp. Turn on Auto Mask to help with the edges.

Paint on the areas that need to be sharp, but were missed by the ai selection.

In order for them to match, adjust the amount. As you go to the left it pushes the painted area further into the background as you can see by the slight orange color.

Push the Amount slider to the right to make it closer to the camera. Now, it’s yellow. We want the area we paint to match the colors in the existing depth map for a perfect result.

Choose the Blur button to fix the areas outside of the rope.

Paint with the blur to include the areas of the background that were accidentally selected.

Adjust the Amount so the purple between the rope matches the background.

And here we have a pretty nice edge.

For a realistic result, Increase the depth range so that more of the photo is in focus.

Reduce the blur amount to a reasonable value.

Using Bokeh settings

Let’s use this as an example to show off Bokeh. Bokeh changes bright and specular areas into circles that imitate the way different camera apertures look for out-of-focus highlights.

Apple the blur and turn amount all the way up to easily see what’s going on.

Notice we made the Focus Range very narrow to smite a prime 1.4 or 1.8 (ish) lens.

Here I have highlighted one of the circles so you can clearly see the different types of bokeh shapes.

Circle is what’s on most modern cameras including mirrorless cameras.

Bubble adds a little stroke to the circle.

5-Blade gives us a pentagon to simulate the aperture opening on a vintage lens.

Ring simulates a camera with a mirror.

And the cat eye, provides an interesting variation

And the result, after lowering the amount a little bit.

I hope you enjoyed this tutorial. If you did, share it with your friends and on social media

Great to see you here at the CAFE

Colin

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A new tool in Lightroom and camera Raw is Point Color. This tool enables you to select and change colors in photos based on Hue, Saturation and Lightness, as opposed to old tools which only let you select by hue. Point Color can also be used on Masks.

We will remove this color reflection from the photo of cameras.

How Point Color Works

First lets take a quick look at how Point Color does its magic.

Go to the Develop Module in Lightroom (Or Adobe Camera Raw in Photoshop)

Go to Color Mixer and you’ll see Point Color.

Click the eyedropper tool

Click on the color you want to work with in the photograph

You will se the color is selected.

You can drag to the left or right to change the Hue (the color itself)

Drag up or down to change the Saturation. (Amount of Color)

Drag on the gradient to the right to change the Luminance (Light or Dark)

Of course you can always use the sliders which are named as such.

Try moving the sliders or the point in the color swatch, you can alter the corresponding colors on the image.

Here you can see the green changing.

Click the visualize Range box, or hold down Alt/Option as you move a slider to see the area that’s being changed. On the effected area will appear in color.

As we move the slider, notice the bar under the swatch shows the original color to the left and the new color on the right half of the bar.

We can refine which areas will be included by opening the arrow at Range to see the options.

Moving the range slider to the left decuces the reach of colors to be included, while sliding to the right increases the spread.

Use the Hue, Saturation and Luminance range sliders to further refine the selection. This is demonstrated on the video above

Notice, we can refine the selection so just the greens in the hedge are selected.

Change the Hue Shift to add a nice green to the hedge and no affect anything else. As I noted at the start, this will also work on masks if you need to refine it more.

Fixing the Color Contamination in reflections

OK, let’s look at this picture I snapped at an exhibit. You can see all kinds of colored reflections on the metal from surrounding colored lights. Let’s fix this.

Choose the eyedropper to select the purple color.

Refine the selection under range

Drag the saturation all the way to the left to remove the color.

There are still some salmon colored reflections.

Click with the eyedropper to add a second color.

Reduce the saturation to remove that color too.

Notice the red letters are still there on the camera.

Watch the video to see this more in depth.

I hope this was useful!

If you want to learn Lightroom Classic check out my course on Lightroom 2023 here, or the brand new course on Lightroom Masks

Thanks

Colin

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Here are the new features.

(Written steps coming soon)

If you want to learn Lightroom Classic check out my course on Lightroom 2023 here, or the brand new course on Lightroom Masks

Thanks

Colin

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The first is facial hair. This is useful for selecting and editing beards. You can make them darker or lighter. You can link the facial hair to the hair and get a more believable edit as they all change together. Also useful to get a little gray out of beards in Lightroom.

The second new mask is selecting clothes. To be brutally honest, this second one doesn’t work great at the moment, but I have come up with some tricks to make it work a lot better. I hoep this tutorial is useful for you. I’ll add the written steps later, its been a very busy couple of weeks for me content wise!

Thanks

Colin

Masks in Lightroom and Camera RAW (in Photoshop)

This new 3+ hour set of 26 tutorials will help you master the use of the new Masks in Lightroom or /and Camera RAW. Get it here

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