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Shoot and print more, pixel peep less guys.The camera raw functionality in Adobe Photoshop software provides fast and easy access to the raw image formats produced by many leading professional and midrange digital cameras. Still, Fuji has to be commended for what is essentially a great product and a real alternative to other mirrorless offerings out there. Of course I wasn't happy with the fact that Adobe's support was sub-optimal in the beginning since my workflow is based around LR, but there is really a lot to like about the camera and I'm sure that an X-Pro 2 will pretty much be all that most enthusiasts and the semi-pros need it to be and tick all the right boxes. I have used several raw converters with Fuji X-Pro 1 files and I can honestly say if you are familiar with them the results they are capable of are damn near identical (although LR did have some issues that I find have been most the part dealt with). In fact, to my mind, it is misleading to even juxtapose them.

Adobe camera raw 7.4 free download how to#

Those who say that the in-camera JPEG is better than the LR RAW based on the samples presented here, have obviously no clue whatsoever as to how to use LR or indeed any need to do so. You can keep tabs on what he's up to on his Facebook, Google+, Instagram or Twitter feeds. We'd love to hear what works best for you.Īmadou Diallo is a photographer and staff writer at dpreview. Share your findings with the community in the comments section. You can download the original Raw files below to try your hand with your own settings in the raw processor of your choice. In re-processing dozens of X-Pro1 images with ACR 7.4 we found that they all benefited from slightly more aggressive than usual sharpening, with a higher radius value than we'd typically use.

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The results speak for themselves and we feel confident in saying that ACR 7.4 RC is the update that X-Pro1 users have long been waiting for.ĭefault settings offer a useful comparison of a raw engine's demosaicing capabilities but of course you'll want to tweak these parameters to get the most out of any raw file. Our hats are off to Adobe for committing the not-insignificant resources necessary to improve support for X-Trans sensor cameras with relatively limited market share. While it's important to recognize that ACR 7.3 and earlier was certainly very usable for many types of X-Pro1 images - especially if they weren't subjected to 100% view scrutiny - there's no question that with the 7.4 release candidate, Adobe has substantially improved their raw processing for the camera's X-Trans sensor. Overall, the ACR 7.4 RC files deliver more realistic, natural results in areas of organic low-contrast detail like the foliage in the street scene above and the fuzzy balls in the studio scene below.

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Having said that, however, ACR 7.4 RC avoids the edge halos and even more obvious aliasing patterns that exist in the Capture One Pro 7 renderings of our real world and studio test scene.

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Here then, we take a look at the default settings of ACR 7.4 RC and Capture One Pro 7.02. Click on a full scene thumbnail for the original resolution image.Īs we saw in our Raw Converter Showdown, Capture One Pro 7 produces more crisp results than ACR with contrast and saturation defaults that more closely mimic the in-camera JPEG.

We compared Capture One Pro 7's raw processing against the X-Pro1's in-camera JPEGS in an earlier article using these same image files. For a default setting, we have little complaint with these results. While moiré and aliasing patterning are ever so slightly more prominent in the ACR conversion, this is well in line with what we've seen over the years from third party raw converter engines. And keep in mind, we've found the Fujifilm X-Trans JPEGs to be among the finest we've seen from an enthusiast camera. In our studio test scene, the ACR 7.4 RC processing compares extremely well against Fujifilm's internal JPEG engine. The difference is slight though, and we're happy to say that Adobe's revamped processing is free of the fine detail artifacts and color smearing that we saw in the previous ACR version (shown in the following section of the article). If you look carefully you'll see the in-camera JPEG offers marginally crisper looking details than the ACR 7.4 RC rendering. This is no great surprise, as ACR typically follows a conservative approach with its default settings. The most obvious difference here is that the in-camera JPEG displays greater contrast and saturation than the ACR 7.4 RC file. Click on a full scene thumbnail for the original resolution image.Īdobe Camera Raw 7.4 RC: Default settings Below we compare the performance of ACR 7.4 RC against Fujifilm's internal JPEG engine.