Highly impressed with ACR 7.2RC1 !
In a separate thread in the Bridge forum I posted screen shots showing what ACR 7.2RC1 was able to pull out of a nearly all-black accidental-camera-discharge shot. It's by no means an artistic quality image, as it was just an extreme stress-test, but for forensic purposes that is just utterly amazing and showcases the capabilities of this latest ACR release.
It's an amazing recovery of virtually invisible data.
While Camera Raw 7 is indeed very impressive, are you seeing different behavior in underexposure recovery or noise reduction between earlier 7.x versions and 7.2 RC? I'm not sure I'm sensing a difference.
Here's a similar success story to yours, with a view inside a dimly lit solar observatory dome where the exposure was influenced by outside light coming through a portal.
Conversion of raw file via Camera Raw with extreme settings:
You're welcome, and thanks for the feedback.
Here's another amazing result from an image shot in impossible lighting conditions (deep shadows and shot into sun reflections):
The JPEG the camera produced:
The finished result after converting with Camera Raw with extreme recovery settings and some additional Adjustment Brush work:
On the other hand, this exchange has led me to re-test just the Shadows/Highlights image adjustment in Photoshop proper, which I had neglected for some time because of ACR, and it is also amazing how much detail it can recover from the two in-camera JPEGs you have posted, especially from the blocked shadows.
Adobe had already done a fine job with that adjustment. Of course, ACR is superior, above all in the recovery of blown highlights.
When the Color slider (in the Detail — Noise Reduction panel) is set to a non-zero value then the Color Detail slider will default to 50 (on a scale from 0 to 100). When grabbing the Color Detail slider with the mouse and pushing it to a value greater or less than 50 then the Camera Raw preview window will properly reflect the new value—until you release the mouse button. Then it will fall back to the 50 default even though the slider is now elsewhere. So effectively it's impossible to choose any Color Detail value other than 50 ... well, or actually you can but the effect will always be that of the 50 default.
So effectively it's impossible to choose any Color Detail value other than 50 ... well, or actually you can but the effect will always be that of the 50 default.
No wait—I just noticed that the bug affects the Camera Raw preview only. However when you export the same image with different Color Detail settings then the colour noise (or the reduction thereof) actually will be different in the resulting files, even though their previews in Camera Raw were equal.
So the bug is not as severe as I originally thought ... but annoying nonetheless.
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