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Posts Tagged ‘Files’

SonyPixelShift2DNG combines a7R III Pixel Shift shots into DNG files

10 Mar

One of the useful features baked into Sony’s latest flagship mirrorless full-frame camera—the Sony a7R III—is the Pixel Shift Multi Shot mode in which the camera captures four consecutive images, shifting the sensor one pixel for each.

This allows the camera to sample each point in the scene with each of its four color filters (R, G, B, G2). Those images are then combined in post to produce files with improved ‘crispness’, color resolution, noise and dynamic range. It’s essentially meant to overcome the limitations of the Bayer color filter array.

The process looks something like this:

We discussed Pixel Shift in detail here, but if you read our full Sony a7R III review then you know that one of our main complaints about this feature is Sony’s limited support for Pixel Shift files. Basically, you’re stuck using Sony Imaging Edge to process the files—a rather limited (and slow) Raw converter that’s probably not on anybody’s “favorite photo software” list.

Well… you were stuck. Enter LibRaw, LLC’s SonyPixelShift2DNG beta.

As the name implies, this piece of software combines the four ARW files captured by your Sony a7R III in Pixel Shift mode and spits out a DNG on the other side, allowing you to process the result in the Raw editor of your choice. What’s more, it’ll automatically detect the 4-image Pixel Shift sets, ignoring any non-Pixel Shift files (as long as you select ‘Analyze + Convert All’), generating single DNGs for each set. It’ll even name the DNG sensibly, indicating the original ARW files it was generated from.

Finally, Any Pixel Shift ‘quartets’ (Sony ARQ files) you’ve already created with Sony Imaging Edge can also be converted to DNG.

The software is still in Beta, but we gave it a test drive and found it fast, easy and nearly effortless. We threw an entire directory of Pixel Shift and non-Pixel Shift files at it and it worked flawlessly. This essentially eliminates any worries we had about compatibility or convenience when it comes to capturing and editing Sony a7R III Pixel Shift files. As far as we’re concerned, until and unless Sony releases something similar itself (and we wouldn’t hold our breath) this is a must have for Sony a7R III users who use the Pixel Shift function.

To learn more about the software or download it for yourself—there are versions for both Mac or Windows—head over to the FastRawViewer website. Don’t wait too long to try it though, the free beta version at that link expires on May 1st, 2018.

And check out LibRaw’s other excellent software while you’re at it: FastRawViewer allows you to quickly evaluate, sort and do more with your Raw files, and we use the RawDigger app to perform technical analyses of Raw files on a daily basis.

Articles: Digital Photography Review (dpreview.com)

 
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DPRSplit will help pull more dynamic range from Canon 5D Mark IV Dual Pixel Raw files

14 Feb

RawDigger and FastRawViewer have released the beta version of an application called DPRSplit, designed for Canon 5D Mark IV owners. With DPRSplit, photographers can input a CR2 file from a Canon 5D Mark IV and then extract a second image from it, one with an exposure value that is about one stop lower than the original CR2 image.

This utility works only if the camera’s Dual Pixel Raw mode was enabled when the shots were taken.

Canon explains how this technology works on its website:

The Dual Pixel sensor’s pixels have a dual photodiode construction. This sensor design means the sensor can receive an A and B signals from the subject and to detect any phase differences between the two signals, allowing them to attain focus as part of the Dual Pixel AF system … During Dual Pixel RAW shooting, a single RAW file saves two images into the file. One image consists of the A+B combined image data and the other only the A image data.

Photographers benefit from this technology by using Canon’s Digital Photo Professional software, which enables users to make “microadjustments” to focus, bokeh shift, and reduce ghosting. However, the software doesn’t enable users to extract both images from the CR2 file separately—that’s where DPRSplit comes in.

With this utility, photographers get access to that second frame, which has half the light of the composite image. This means that, in essence, the camera is automatically capturing two shots, bracketed by about 1EV.

Extracted images are saved as DNG files for editing with any software that supports the format, so you can blend the images back together and get about +1EV more usable dynamic range. And since the exposures are captured simultaneously, you don’t have to worry about motion blur in your image. The only potential “issue” is a minor parallax error between the two frames.

DPRSplit beta 0.8 is free to download for Windows 7 or higher and Mac OS X 10.6 through macOS 10.13. As with any beta software, it is possible users will encounter bugs, but if you’re a 5D Mark IV user and you already shoot in Dual Pixel Raw, this one might be worth a shot.

Articles: Digital Photography Review (dpreview.com)

 
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Why can t i open pdf files on my iphone

08 Sep

We now say, xcode weighs in at around 3. User feedback about an app is useful, Every technology initiative, PDF files why can t i open pdf files on my iphone Word files. ars Technica:   Android 8. The Quick Look app does not show, it may be necessary to install an iOS update to […]
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Picktorial’s new X-Pack lets you add Fuji’s film simulation profiles to X-Trans raw files

17 Aug

When Picktorial 3 debuted back in April, it offered “superior support” for Fujifilm X-Trans RAW files, including compressed and uncompressed RAF. This was a big deal, and it has been so well received that Picktorial Innovations, Ltd. has announced another major addition for Fuji users this week: they’ve added Fuji Film-Simulation color profiles.

Released as a $ 15 “X-Pack” add-on to Picktorial 3, the preset pack is described as, “a package of pitch-perfect film simulation color profiles for Fujifilm RAF files.”

With this unique add-on to Picktorial 3, the simple yet powerful non- destructive RAW photo editing platform for Mac, Fuji photographers can enjoy the renowned look of the Fujifilm Film-Simulation yet retain the capability and latitude of the X-Trans sensor output.

The X-Pack features 14 color profiles, which accurately reproduce the much-loved Fuji Film-Simulation modes you find in-camera when shooting JPEG. The difference here being, of course, that you can apply these profiles to raw RAF files to achieve the same looks without losing the editing latitude of raw.

Here are a few before and after images of the X-Pack in action:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3405492424″,”galleryId”:”3405492424″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

The add-on requires Picktorial version 3.0.4 or newer, which will cost you $ 40 to buy new as of this writing. The X-Pack itself costs $ 15, and can be purchased at this link.

Picktorial’s new X-Pack film simulation color profiles offer further appeal for Fuji RAF users

Jerusalem, Israel – August 16, 2017 – Picktorial Innovations, Ltd. is excited to announce its latest offering to the Fuji community with X-Pack, a package of pitch-perfect film simulation color profiles for Fujifilm RAF files. With this unique add-on to Picktorial 3, the simple yet powerful non- destructive RAW photo editing platform for Mac, Fuji photographers can enjoy the renowned look of the Fujifilm Film-Simulation yet retain the capability and latitude of the X-Trans sensor output.

Already a favorite within the Fuji community due to its superior X-Trans RAW support, Picktorial has added the X-Pack with 14 color profiles reproducing the Fuji Film-Simulation modes found in- camera when shooting in JPEG format. These profiles, based on the original films, are considered one of the most beloved features in the Fuji X-series digital cameras.

Picktorial continues to develop new features in line with its mission: providing intuitive, pro-level tools to every photographer, expanding creative opportunities while saving editing time. Since its launch in April 2017, Picktorial 3 has received rave reviews from both leading publications and users alike.

Included in the X-Pack are the following profiles:

  1. Camera CLASSIC CHROME
  2. Camera ACROS
  3. Camera ACROS+Ye
  4. Camera ACROS+R
  5. Camera ACROS+G
  6. Camera Velvia/VIVID
  7. Camera PROVIA/STANDARD
  8. Camera PRO Neg. Hi
  9. Camera PRO Neg. Std
  10. Camera ASTIA/SOFT
  11. Camera MONOCHROME
  12. Camera MONOCHROME+Ye
  13. Camera MONOCHROME+R
  14. Camera MONOCHROME+G

The camera profiles are compatible with Fujifilm X-Trans(TM) RAF files.

Requirements:

Picktorial 3.0.4 or later

Availability and Pricing:

The X-Pack is now available for download at www.picktorial.com/xpack for $ 15.

More tutorials and resources can be found at www.youtube.com/picktorial

Articles: Digital Photography Review (dpreview.com)

 
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Google Guetzli is an open source JPEG encoder that creates 35% smaller files

18 Mar
20×24 pixel zoomed areas from a picture of a cat’s eye. Uncompressed original on the left. Guetzli (on the right) shows less ringing artefacts than libjpeg (middle) without requiring a larger file size. Image and caption via Google 

Google has announced the open source release of Guetzli, a new JPEG encoder able to reduce a JPEG’s file size by up to 35%, without any significant loss of quality. Per a study detailing the algorithm, Guetzli ‘aims to produce visually indistinguishable images at a lower bit-rate than other common JPEG encoders,’ including libjpeg. However, the study goes on to caution that the compression tool is ‘currently extremely slow.’

Google announced the new encoder on Thursday, detailing it as a proof-of-concept that can be freely used by webmasters and others to reduce the size of JPEG image files. The algorithm merges ‘advanced psychovisual models with lossy compression techniques,’ according to the study, to produce high-quality compressed images. It’s a different approach than that taken by other Google projects we’ve looked at recently like RAISR. Google expresses a desire to see future compression research that is inspired by Guetzli’s own psychovisual underpinnings.

Though Google largely details Guetzli’s benefits as they pertain to webmasters (namely faster Web page loading), the algorithm is available for anyone to download and use via Github. Instructions for setting up and using the tool are provided on the Github page for multiple platforms, including Windows, macOS and Linux.

Via: Google Blog

Articles: Digital Photography Review (dpreview.com)

 
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Apple files patent application for optimization of focus stacks

14 Feb

Focus stacking on smartphone cameras is not an entirely new thing. It was used on some Nokia Lumia phones, including the Lumia 1520 in 2014, to create a shallow depth-of-field effect and allow for refocusing an image after capture, similar to what the Lytro light field cameras can do.

However, now it appears Apple is also taking an interest in the technique. The company describes a method for the optimization of focus stacking in a patent application that was filed in 2015, but only published in December 2016. The patent details a method for calculating what positions the lens elements need to be in for an optimized capture process. After the lens is positioned in its first location and collects initial focus information, an algorithm calculates ‘target depths’ that would be required to capture all objects in the scene in focus. The camera would then capture an image at the current lens location, continuing to other focal points until all elements of the screen have been captured in focus. 

In combination with ever improving smartphone processing power and potentially optimized camera hardware, this new method could help speed up the focus stacking process significantly, making it a possible default camera setting. Current options usually take at least a couple of seconds per focus stack for capturing and processing. The method could also be used for depth mapping and help improve the precision of portrait modes, such as the one implemented on the iPhone 7 Plus.

Articles: Digital Photography Review (dpreview.com)

 
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How to Use DNG Files on Your iPhone With Lightroom Mobile, RAW or ProCam 4

16 Nov

The recent release of iOS 10 saw an important update to the iPhone’s operating system for photographers. If you own an iPhone with a 12-megapixel camera (that is an iPhone 6S/Plus, iPhone 7/Plus, iPhone SE or even an iPad Pro 9.7) the operating system now allows third party camera apps to save photos in the DNG format. That’s excellent news for iPhone photographers as it means that you can now realize the potential of your phone’s camera.

iPhone DNG file

Image quality improvements

The advantage of using DNG (rather than JPEG) as the file format is that you can process the DNG files in Lightroom (or your software of choice). This gives you much greater control over noise reduction and sharpening, as well as color and tonal adjustments. Photos processed by the iPhone and saved in JPEG format often suffer from smearing caused by noise reduction, especially if taken in low light. Using DNG lets you avoid that.

This photo was taken at ISO 125 (fairly high for an iPhone, whose lowest ISO setting is 25) using the JPEG format (all other photos in this article are from DNG files).

iPhone DNG file

This 100% magnification from part of the image shows the smearing caused by the iPhone’s processing. To me, it looks like someone has applied a filter in Photoshop that is meant to make the photo look like a painting.

iPhone DNG file

This photo was taken at ISO 250 using the DNG format. A smartphone camera is not the best tool for shooting in low light, but I wanted to test the camera under these conditions.

iPhone DNG file

This is a 100% magnification. I processed the photo using Lightroom’s default noise reduction settings. There is plenty of noise (exaggerated by the increased Clarity needed to get the best out of iPhone files) but no smearing.

iPhone DNG file

DNG files are also much better for converting to black and white than JPEG files. Black and white shooters will appreciate the ability to process their own Raw files and not rely on the camera’s software to do it.

Here’s a black and white version of the opening photo that I made using Lightroom for conversion.

iPhone DNG file

What you need to know

The important thing you need to know is that, at the time of writing, the iPhone’s native Camera app doesn’t have the ability to save your photos in the Raw format. You need a third-party one. Let’s take a look at some of the choices available.

Lightroom mobile

Lightroom mobile lets you take, save, and process DNG files on your iPhone. This is brilliant if you’re a Lightroom CC subscriber as it lets you take full advantage of all of Lightroom mobile’s features.

The only disadvantage of using Lightroom mobile is that the photos you take are stored within the Lightroom mobile app and not in the Camera Roll. That means you can’t download your DNG files by connecting your iPhone to your computer using the lightning cable.

Please note: If you’re not a Lightroom CC subscriber, you can still download Lightroom mobile for your iPhone and use it to take Raw photos. However – and this is very important – there is no way to save the Raw files to your Camera Roll or get at them without a CC subscription. I understand that Adobe software engineers are working on a solution to this, and hopefully, it will be implemented in a future version of Lightroom mobile.

iPhone DNG file

How it works

Lightroom mobile uploads photos taken with the camera, to Adobe’s servers. These are then downloaded by Lightroom desktop or Lightroom mobile on another device such as a tablet. You can set Lightroom mobile to sync only over wi-fi networks, so you don’t have to worry about using up data. But, given that DNG files are larger than JPEG files, it does mean that if you take photos in any volume it’s going to take a while for them to synchronize across devices.

Lightroom mobile’s camera app is a little more sophisticated than the iPhone’s camera app and lets you set white balance and exposure compensation.

As we’ve seen, Lightroom mobile works well under the right circumstances. But if you’re not a CC subscriber or you don’t have fast wi-fi, then you may want to look elsewhere for an app that lets you save photo files in the DNG format.

iPhone DNG file

RAW

500px have released a free camera app called RAW that lets you capture DNG files and edit them on your phone. The RAW app lets you create model releases, upload and license your photos on the 500px website, and use filters created by other RAW app users to process your photos.

The app also lets you save DNG files to the Camera Roll. So that you can download them by connecting your iPhone to your computer without having to rely on a wi-fi connection. You can only do this one at a time, though. So it’s a time-consuming process if you shoot a lot of photos. The camera in the app itself is also quite limited – you can tap on the screen to select the focus point but that’s the only control you have over the camera.

iPhone DNG file

VSCO Cam

The VSCO Cam app (also free, AND available for Android users too!) doesn’t support DNG yet but according to a recent press release DNG support is coming in a future update (date unspecified).

I’m looking forward to this, because the VSCO Cam camera app is quite clever and lets you adjust the exposure, white balance, and flash settings, as well as display a grid and a spirit level on the screen. You can download free presets to process your images (or buy others). But the big advantage is that it saves photos automatically to the Camera Roll, so you can download your DNG files directly from your iPhone if you want, without having to rely on a wi-fi connection.

iPhone DNG file

ProCam 4

If you’re looking for a sophisticated iPhone camera app that supports Raw, saves your DNG files to the Camera Roll, and gives you full manual control over the camera, then I recommend the ProCam 4 app.

It costs a few dollars to buy ($ 4.99) but is well worth the expenditure. This app lets you adjust ISO, shutter speed and white balance. It also lets you save the same photo in both JPEG and DNG formats in the Camera Roll.

If you take photos in any volume, then the ProCam 4 app is the best one that I’ve used for the iPhone. All you have to do to transfer your DNG files to your computer is connect the iPhone with the lightning cable and import the files using Lightroom (or the computer’s own software). It’s much quicker and easier than waiting for Lightroom mobile to synchronize files, or using the RAW app and saving your photos to the Camera Roll one by one.

iphone-dng-8

Disadvantages of DNG

Are there any disadvantages to using Raw on an iPhone? The only one that I can think of is that DNG files are larger than JPEGs and require more storage space. If you have an iPhone with 64GB or more storage space I don’t think this will be a problem. But if you have 32GB or less, then space management may become an issue if you have lots of DNGs.

More to come in the future

Before we finish I think that it’s important to note that the ability to save DNG files on an iPhone is such a new feature that developers are still rushing to take advantage of it. Expect the apps mentioned in this article to be updated and improved, and for more apps to take advantage of this new feature in the future.

All photos in this article were taken with an iPhone SE and processed in Lightroom.

Do you have an iPhone that lets you use the DNG format? Which apps do you use to take DNG photos? Let us know in the comments.

Editor’s note: There are several Android phones which can shoot RAW files in the DNG format as well. If you have an Android do a google search to find options for your brand and model.


If you’d like to learn more about processing photos in Lightroom then please check out my Mastering Lightroom ebooks.

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The post How to Use DNG Files on Your iPhone With Lightroom Mobile, RAW or ProCam 4 by Andrew S. Gibson appeared first on Digital Photography School.


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Tamron files patent for 115mm F1.4 VC lens

25 Aug

Lens manufacturer Tamron has filed a patent for what looks like an interesting portrait lens to add to its growing collection of fixed focal length lenses. The company appears to be developing a 115mm F1.4 moderate telephoto lens that will come with Tamron’s Vibration Compensation system built in. The focal length is very unusual, as is the 45mm that the company chose for its F1.8 standard lens, but that will only make it stand out from the crowd of 90mm, 100mm, 105mm and 135mm lenses. The 115mm focal length isn’t unheard of though as Carl Zeiss produced Tessar 115mm F3.5 and Pro Tessar 115mm F4 lenses for SLR and rangefinder film cameras. 

The patent application was spotted by Japanese website egami.

* Patent Publication No. 2016-151661
* Published 2016.8.22
* Filing date 2015.2.17

* Example
* f = 113.000
* Fno = 1.456
* ? = 10.632

* Tamron patent
* Positive and negative positive
* Inner focus (the second group)
* Vibration proof group (one of the group)

Articles: Digital Photography Review (dpreview.com)

 
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Getty accuses Google of anti-competition practices, files complaint in EU

30 Apr
Ian Walton / Getty Images

Getty Images, one of the largest photo agencies in the world, has filed a complaint with the European Union’s Competition Commission because Google won’t budge on making high resolution photographs freely available from its Images search engine. Getty says that as users can see images in high resolution via the results window in Google Images there is no incentive for searchers to click through to the owner’s website. Getty maintains that the practice of showing searched images at high resolution deprives websites of traffic, while also making it easier for Google users to download and use images without paying a license fee to the copyright owner.

In an open letter posted on the Getty Image’s website, the companys General Counsel, Yoko Miyashita, says ‘Our complaint focuses specifically on changes made to Google Images in 2013, which have impacted the competitiveness of our business by siphoning off traffic and promoting piracy – to the detriment of the 200,000 contributors who rely on us to earn a living. On a broader scale, this has impacted the interests of content creators around the world, allowing Google not only to profit from their work, but also to reinforce its role as the internet’s dominant search engine and thus maintain its monopoly power.’

The changes Miyashita mentions, that were made in January 2013, are those which saw Google shift from serving searchers a thumbnail sized image to allowing users to see and download full-sized images. The service even allows users to specify the size of image they want to see. Getty argues ‘Once an image is displayed in high-resolution, large format, it is immediately consumed – there’s very little reason to go see it somewhere else. This format change immediately diverted traffic away from Getty Images, and from the websites of Getty Images’ customers and those of other image creators, deterring users from leaving Google’s platform to engage with content through legitimate sources. This, in turn, negatively impacts content creators’ ability to monetize users’ interest through licensing and advertising, and reduces the level of reinvestment available for the creation of new content.’

Getty says it has been in talks with Google for three years, but that Google’s attitude has been that image creators should either accept the search engine’s terms or opt-out of image search. Getty says it is fighting to protect its interests and those of its contributors, but also to protect the entire image-making industry.

Getty’s complaint is part of a wider investigation of Google by the European Competition Commission in which the search giant faces questions about restrictive practices in the way it serves search results as well as the compulsory apps that come with devices using the Android operating system.

For more information, and to read Yoko Miyashita’s open letter, see the Advocacy page on the Getty Images website. 


Press release:

Getty Images to file competition law complaint against Google

Getty Images, a world leader in visual communications, will today file a competition law complaint against Google Inc. with the European Commission. The complaint follows on from Getty Images’ submission in June 2015, when it joined as an interested third party in support of the European Commission’s existing investigation into Google’s anti-competitive business practices. 

The Commission’s current proceedings against Google are wide-reaching, with Google accused of distorting search results in favour of its own services. This affects a myriad of industries, from media companies like Getty Images, to comparison shopping and travel websites. Just last week, a further set of proceedings were issued against the search engine, to address Google’s business practices around its Android mobile operating system.

Getty Images’ complaint focuses specifically on changes made in 2013 to Google Images, the image search functionality of Google, which has not only impacted Getty Images’ image licensing business, but content creators around the world, by creating captivating galleries of high-resolution, copyrighted content. Because image consumption is immediate, once an image is displayed in high-resolution, large format, there is little impetus to view the image on the original source site. These changes have allowed Google to reinforce its role as the internet’s dominant search engine, maintaining monopoly over site traffic, engagement data and advertising spend. This has also promoted piracy, resulting in widespread copyright infringement, turning users into accidental pirates.

Getty Images’ General Counsel, Yoko Miyashita says: ‘Getty Images represents over 200,000 photojournalists, content creators and artists around the world who rely on us to protect their ability to be compensated for their work. Google’s behavior is adversely affecting not only our contributors, but the lives and livelihoods of artists around the word – present and future. By standing in the way of a fair marketplace for images, Google is threatening innovation, and jeopardizing artists’ ability to fund the creation of important future works. Artists need to earn a living in order to sustain creativity and licensing is paramount to this; however, this cannot happen if Google is siphoning traffic and creating an environment where it can claim the profits from individuals’ creations as its own.’

Miyashita continues: ‘Getty Images believes that images have the power to move the world by spurring action and driving change. It is key that these issues with Google are addressed and that the dominant search engine in Europe leads users to legitimate sources for imagery, rather than creating an environment that benefits Google alone. A fair marketplace will allow photographers to continue to capture the ground-breaking imagery that informs and impacts the world every day.’

Getty Images firmly supports a more image-rich, digital world, but one that recognizes and remunerates the content creators who create this imagery. In 2014, Getty Images launched its embed tool, which revolutionized the visual content industry by making imagery available for easy, legal sharing at no cost for non-commercial use. This embed functionality provides consumers with an easy, legal alternative to the ‘right click,’ an alternative that ensures the content creator is appropriately credited for their work and that the image is clearly traceable to Getty Images in the event that a user wishes to license the image for a commercial purpose.

Visit Where We Stand  to learn more about how Getty Images is working with policy makers and industry groups to defend intellectual property and ensure a fair marketplace for content creators.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe issues fix for Creative Cloud Mac update that could delete files

16 Feb

Last week, Adobe rolled out a Creative Cloud update with a harmful bug that, for some Mac users, deleted files from the system root directory. Once the bug was discovered with the help of backup platform Backblaze, Creative Cloud version 3.5.0.206 was pulled from release and was replaced Sunday with an update that promises to fix the issue.

The bug appears to have deleted the first file in the root directory for users who downloaded the update, whatever that file might have been. Backblaze users noticed problems because alphabetically, the service’s .bzvol folder sits at the top of their root directory. When Creative Cloud deleted the folder, Backblaze alerted the user that something was wrong.

In a blog post on Friday, Adobe acknowledged the issue, saying that ‘the updater may incorrectly remove some files from the system root directory with user writeable permissions.’ Version 3.5.1.209 was released Sunday with a fix for the problem.

Adobe directs users who experienced problems with the Creative Cloud update to contact customer service. The latest update is available now for Mac and Windows.

Articles: Digital Photography Review (dpreview.com)

 
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