HSL colours

I've been puzzled by the lack of optional HSL sliders and Color Picker fields in Ps. I find HSL to be a more intuitive way to select colours than HSB, but it's possible that I'm unusual in that regard.
Anyway, in case anyone is interested, I've come across a couple of workarounds. Adjust the sliders then copy the provided hex code and paste it into the hex field of the Color Picker.
A Web page - http://hslpicker.com/
An OS X Dashboard Widget - http://www.apple.com/downloads/dashboard/developer/hslider_brandanlennox.html

So you want to desaturate parts of the remaining red colour with the brush?
I just tried it and it worked (LR 3.2).

Similar Messages

Adobe Lightroom 4. When using the HSL / Colour / B

In the Develop Module, why have my colours in the HSL/ Colour / B & W Tool sliders disappeared ? I purchased Lightroom 4 over the net from Adobe. Any help would be really appreciated. I am not that technical in my knowledge

Thank you for your feedback. I tried doing as you suggested. While in the Develop Module, I clicked on Panels from the drop down menu and then reselected the HSL/ Colour / B & W, but unfortunately, if I followed your directions correctly HSL/ Colour / B & W sliders are still B & W. I should have added that I have downloaded Apple's latest operating system. I did read on another forum topic that there was an issue in Lightroom 4 with sliders going white, associated with Mavericks OSX. That sounds like the problem I have. I did note I still have functionality, but having the colours visually on the sliders does assist me (at least).
On that note, does any one know if the issue in Lightroom 4 with sliders going white, associated with Mavericks OSX has been resolved?

Colourmaps. Please help

I am developing a colour palette much like the one used by Microsoft paint. I however do not know how to program this in java and was wondering if anyone can help me out in this difficult task. The thing is I need to program the RGB colour model and the HSL colour model.
Please help.

Can't you use the JColorChooser?
It has a highly customizable API and you can do very powerful things with it.
Have a look at
http://java.sun.com/docs/books/tutorial/uiswing/components/colorchooser.html

Lost the HSL and colour Adjustment tool bar

I seem to have lost the HSL and Colour adjustment tool bar on the drop down on the right hand side of the screen.
Can anybody help?
thanks!!

1. Right Click (Cmd-Click) on one of the other headings in the Develop Panel (Basic, Tone Curve etc).
2. This will bring up a selection menu of which items you want to be visible.
3. Re-select "Adjustments" and the HSL/Color/ B&W should reappear.

CCP colour profiles and different lenses

Hi,
I just got a Nikon D7000 and I've been playing around with my ColourChecker Passport to set up some standard colour profiles for use in ACR as a general starting point for processing. I've been pondering if it's worth my while to create different profiles for each lens I have, something I've not previously done when profiling my old D60, where I just created a series of profiles (including some dual-illuminants) by using one lens and capturing the target under a variety of different lighting conditions (e.g. tungsten, flash, sunshine, etc).
Anyway, I just tried creating a profile for my 105mm 2.8 lens under tungsten lighting, having previously (yesterday) created one under the same lighting with my 50mm 1.4 lens and I've been comparing them in ACR using the colour dropper. I’ve opened up the images used to create the profiles, applied the profile generated using the ColourChecker software for the corresponding lens, and then set the white balance using the ‘off-white’ colour patch with the eye dropper WB tool. I then used the colour dropper on the same colour patches in each image. I’ve noticed that the RGB colour values aren’t matching quite as well as I’d expected (note that I thought it potentially unrealistic to get a perfect match): blues and greens seem to be roughly the same, so for example with patch #3 (third from left on the top row), one is at 69,72,115 and one at 70,77,115, but reds and oranges seem to be a bit further out of sync, e.g. with patch #15, one is at 99,45,29 and one at 109,51,34; with patch #16 one is at 166,167,29 and one at 175,179,33. This surprises me a little, as I thought the idea of CC was to calibrate the profiles so that colours were essentially the same across different lenses – and different cameras if applicable. I have to say though that, colour values aside, when eyeballing the two images on my monitor (profiled) they do look very similar, which I guess is the main thing!
I wonder if perhaps I’m missing something here? I’m quite prepared to be told that I’ve got this all wrong!
Also, I wonder if others on the forum using CCP have gone to the trouble of creating lens-specific profiles, or if they’ve just created profiles for their camera body using one lens? This is the approach I took with my D60, but having done more reading on CCP I know that some folk do advise to create separate profiles for each lens they use (and I am of course aware that the CCP user manual also states to do this). Do you even create a profile for each and every shoot (when possible)?
I’d be very interested to hear your opinions on this as I’ve not been using CCP for all that long and am always eager to learn more.
M

First of all, a color profile is for correcting color, not luminance, so compare the HSL or Lab coordinates not the RGB values so you can just ignore the L coordinate. From your given RGB numbers, you can already tell that one of the images is brighter than the other so it is just confusing looking at the RGB values and guessing what you would expect the three values to be in the other image. For comparing two images, I would concentrate on the Hue number in HSL coordinates, since Saturation can change with contrast, and Luminance can change with Exposure and Contrast.
Also, as part of your eyedroppering comparison, another thing to do would be adjust the "Exposure" of the darker image until the L number (in HSL or Lab) is the same as the L in the brighter image and then see what the other two numbers are--maybe the other two numbers won't change, and then you can try putting one of the HSL values in the "Old" patch of the color-picker and the other in the "New" patch and see how much different they look. You'll have to do this comparison in Photoshop not ACR so use ProPhotoRGB when you export to keep the colors as close to the same as you can.
The two questions you seem to have, are: does using a lens-specific profile make enough difference to real world situations to bother with, and where are the variations I'm seeing when the profiles are applied to their source images coming from since I would think they would be the same.
For testing whether the profiles computed for the two lenses make a noticeable difference even with your two profiles that don't appear to correct the same, apply the two profiles to the SAME CC image (one of the two you created your profiles with), save an sRGB JPG of each, and see if you can tell the difference, either side-by-side, or even better, when you flip back and forth in some sort of photo viewer--like with Windows Picture Viewer when those are the only two images in the folder. By apply the two profiles to the same image you have mitigated any luminance and white-balance differences in the source image and are merely looking for differences in the effect of the two profiles.
If you can't tell much difference between the same image using each of the two profiles then it's just an academic exercise. I like academic exercises, but am also a perfectionist and lazy so I would do the experimenting until I found out I'd perfected things enough that I can't tell any difference then I can stop. In other words, do I need to profile for various lenses or not, or am I just doing it because I like to control everything as much as possible and it really doesn't make any difference.
Before answering the other question, about where any profile variations might be coming from, understand that the combination of white-balance and color-profile is attempting to convert the colors of an object photographed in the lighting scenario the profile was created for into the colors of the object photographed in a standard lighting scenario. In my mind the works out to be "make the colors of the object look like it was photographed in sunlight". The issue that requires making a profile and not just white-balancing, is that any part of the object that was colored the same as the light color will be neutral when the white-balance is done, and more generally the closer the color of the object is to the color of the light, the more neutral it will become when WB is done. For example, if you have a red ball and a gray ball and photograph them in red light, they will both look gray when white-balanced. A real-world example of this would be flesh-tones in incandescent light, when white-balanced will have even less color and be more neutral or pale or even bluish, than the skin photographed in sunlight, so after white-balancing, the job of an incandescent profile is to boost the reddish colors and diminish the bluish colors so the skin looks like it would in sunlight. This might be an argument for NOT WBing skin in incandescent lighting. In severely-colored lighting, especially nearly monochromatic lighting such as sodium vapor lighting, correcting the colors to be as if in sunlight will be impossible, but to the extent the lighting isn't monochromatic, the colors can be made to look more normal, if not perfectly normal..
To understand whether the differences you're seeing in the profiles are due to the lenses being different color or due to variations in the profiling process, itself, think about where the variations could come from and how you might test for each:
Was the source lighting exactly the same color between the two shots with different lenses (that were taken a day apart)? Test by eyedroppering the WB of same neutral-color patch in each photo and see if there is any difference in the Temp/Tint numbers. You cannot test the source-lighting color unless you have shot with the SAME lens for both days, so if you don't have shots with the same lens, seeing that the WB is not much different between the two shots can give you some comfort that the difference in the profile was not a difference in the source lighting. The source lighting might have changed if there was some daylight mixing in on one day and not the next, or if the A/C was running on one day and not the other and the voltage was slightly different and the redness of the light was different. One other thing that can wreak havoc in repeatability of both color and exposure is if any of the lighting is fluorescent CFL or tubes, because that sort of gas lighting changes intensity as the voltage varies and reverses 60-times per second and this variation is especially noticeable if the shutter is fast. So while your lighting may have been incandescent any changing daylight or flickering fluorescent lighting mixed in might have changed the source-lighting color enough to make a variation in the profile more than the color of the lenses might have.
This first question dealt with the photos taken with each of the two lenses. The remaining questions are about testing with just one lens.
Is the profiling process repeatable? Test by creating two different profiles from the SAME CC photo and be a little sloppy about when marking the corner patches, and see if you get different numbers applying those two profiles. An idea where things might not be repeatable, is that there are slightly variations in the color of the color patches (you should be able to move the eyedropper across the color patch and see if the RGB numbers change) due to slight color noise and depending on where you put the "corner" markers on the CC image, you'll get slightly different results.
Does the exposure make any difference? You can determine this by taking a photograph using the SAME lens in the SAME lighting (a few seconds apart), and just varying the exposure by 1/2 or 2/3 of a stop, and then computing a profile for each exposure and apply those two profiles to one of the exposures and see if the non-L coordinates of HSL or Lab eyedroppered.
If you check all these variations you'll have an idea of how much each affects the profile and then can judge if the magnitude of the differences you're seeing are related to variations with creating the profile, or actually related to differences in the lenses and thus a new profile for each lens might be warranted, assuming you can tell the difference, still. I mean even if you can tell the difference between the profiles created with different lenses, are the differences from the lens significantly more than the differences due to exposure or lighting color or corner-patch placement?
I haven't tried computing a profile for each lens; however, I have created a dual-illuminant profile (2700K and 6500K) and then computed new color-matrix slider values (the ones under where you set the profile) for various lighting conditions using Tindemans' script and despite the slider values being not close to zero, I can hardly tell any difference on the few images I've looked at. Once exception to not having the color-matrix sliders make much difference is when using the dual-illuminant profile with fluorescent lighting, which has a significant Tint value compared to either of the standard illuminants, but in the case of fluorescent lighting, I'd rather compute a whole new profile, than use a slider-corrected dual-illuminant profile.
Besides eyedroppering Lab or HSL coordinates in Photoshop, another way to check for color variations is to create a color-error plot in the Color Check module of Imatest and see how far the squares and circles are off from each other for each color-patch. An example of such a color-error plot is linked below, where it shows how far off the colors of a color-checker are in incandescent lighting after computing a color-profile in incandescent lighting. You'd expect them to be completely correct, but they aren't, and is a lesson in color profiles only being to go part way in making the colors look as if they were photographed in sunlight:
http://www.pbase.com/ssprengel/image/101322979
If you click on the above image, you will return to the thumbnails for color-error the gallery, and in the gallery description you can see links to both Imatest and Tindemans' script if you care to pursue things more in depth. Imatest is not free but does have a free 30-day trial, which should be enough time to get some useful information out of it.

Adjustment brush after HSL operation

Hi,
I just desaturated all colours but one with HSL (all except red in my case). Now I want to desaturate remaining PARTS of the image with the adjustment brush (saturation slider to the left). Turns out it does not work this way.
What am I doing wrong?

So you want to desaturate parts of the remaining red colour with the brush?
I just tried it and it worked (LR 3.2).

E-pl1 yellow/green colour blotches at high iso

Hello to all members and Adobe Team.
i use lightroom 3.3 and i have made a comparison between my 2 cameras with the same sensor , e-p1 and e-pl1 and e-p1, and while they have identical grain like pattern and rendering at high iso (which is what i was expecting since they have the same sensor and only the Anti-Aliasing filter is lighter in e-pl1), colour rendering at high iso is very different (at low iso its different but i have profiles with colorchecker and the differences are minor).
So i will post raw files in tungsten lighting (the most demanding for high iso-.-- 1600 i mean and even at 800 i can clearly see the problems i am describing).
Olympus e-pL1 white balance is really, but really bad.. everything turns green (its really bothering to adjust and affects low iso images too... i spent so much time correcting the green cast but there is something that i can never get right).
There are green/yellow/orange and purple/blue blotches at high iso.... it happens in tungsten lighting and fluorescent (less so at fluorescent, but still), those green/yellow blotches appear in uniform color areas that are in shadows its like a tint and there is nothing of this sort in e-p1 at iso1600 and even much higher isos have this kind of noise well distributed by all colour channels (they are usually small blotches/spots a little to the irregular round shap but sometimes have big size and very irregular shape).
I believe its something in the blue channel but in the green channel also!
Reds and colours at high iso are much more saturated in e-pl1 than in e-p1 (and from imaging-resource samples and dpreview e-pl1 its one of the cameras which has more saturated colours at high iso which sometimes it looks they are clipping channels).
By the way this is not something just related to these testfiles it happens in almost all high iso files i believe different colour rendereing/demosaic would do much better.
Here are the raw files, the first one is Olympus e-pl1:
http://hotfile.com/dl/117408120/41b0f01/P5109784.ORF.html
The second one is Olympus e-p1:
http://hotfile.com/dl/117408591/5eab708/P5107466.ORF.html
Notice in the blue trip Samsonite bag there are much more blue blotches with the chroma noise slider at 0 (even at 25 there is a difference in Dynamic range between e-p1 and e-pl1, when all review sites clearly say that e-pl1 is a little better at high iso even in raw, and its not just because it has more detail that you can use to kill a little grain and make things equal).
Please dont post or use this photos as examples as they are not flattering... they are just for Adobe engineers or private testing by users not for posting in other forums.
So Olympus cameras and Panasonic camera sensors all exibiht this problem but i have never seen something like this.... the cameras are quite good at iso1600 except all shadows have that tint even with chroma noise sliders at 40 they never disappear ... is it possible to solve the colour demosaicing and left intact the luminance one?
Please be kind to m43 cameras since they are selling very well and i think they dont have proper support... ( i bet if this was a problem with Canon or Nikon it would be corrected in a time... we dont have coustum profiles but there is a solution for that... although for this problem we dont have better solution since its too selective and only in shadows).
By the way in Rawtherapee i have made adjustments in channel mixer (the levels of green that the blue channel has are very high; so i took a little green (and just a tiny bit of red) and the shadow areas start getting rid of the green dots, so here it is a HINT) and there were many improvements almost making them disappear... however i want to use lightroom not rawtherapee with AMAZE demosaicing.
Oh by the way look at Rawtherapee way of removing colour moiré with AMAze algorithm its fantastic it gives you detail back and no colour moire which shows a lot with e-pl1 in lightroom (but i know its because of lighter AA filter and its not a priority).
Thanks for your help!

Well if you search in the middle of the image you will see at 100% that the open bag has those green spots where it should be gray! and near the door at bottom left of the image you will see those green spots that are very distracting because they happen in shadow areas... (and by the way the red cloth is not the same red as the e-p1 image and its noticeable even at small size).
What white balance did you use?
I know these are just test shots but they appear in people shots too..
Im going to prove that ACR interpretation of olympus auto white balance in olympus e-pl1 is just horrenduos with this raw file (by the way i use this one since its one of the ones with less publicity and with the most straight forward uploading, if you know one that is better to upload tell me please).
http://hotfile.com/dl/117520711/fceaefb/P4248867.ORF.html
Now try white balance at 2850 and tint at 0 (things improve).
Now look at the clock.. it has a contour with the wall that is green/yellow its that kind of problem (i have noise reduction in teh color at 50 and in the detail at 25 to try to mitigate its effect but still not much luck).
Next i will go to the HSL tools in lightroom and select yellow color and select saturation tab and dial in -30 for yellow and voilá! it has reached the kind of performance that i see with e-p1 (a little worse but almost unnoticeable),.. adobe should correct this problem in lightroom 3.5 please.
then i used the split toning slider and in the shadows i dial in hue at 340 and saturation at 10 and there was a bigger reduction in the yellow spots so its the default rendering that is a mess (by the way sometimes if i reduce saturation in the green and in the blue channel it helps a little too like -30 in each) so try to correct these please, if possible by not dessaturate the channels but with an algorithm that detects only those kinds of spots and not all yellow info like you do in the red channel so well!!
Thanks

HSL Panel cannot control individual colors in the photos. Using the target tool and the colors change in the entire photo.?

HSL Panel. When using the targeted tool I cannot control individual colors in the photo. In Luminance the entire photo is changing not just one area?

Yes, that's the way it works. The target tool is simply a way to pick a colour to modify, but all colours like that one, no matter where they are in the image, will be modified.
Hal

Colour grading

Excuse me I'm new to grading.
I need to emulate this colour grade in a project
http://www.elvisjesus.co.uk/shop/womens/womens_everything (the bleached out image at the top!)
I only ever come to this forum when i'm really stuck.
Is there a site which has different looks on and tutorial on how to achieve them?
Many thanks

A specific saturatoin balance, then some desaturation, apply an overall hue tint, and HSL key on her lips to slightly saturate them more. Time to learn Color. The details of these three tools will depend on the original image. if I had a short clip, I could reproduce it, but without an original clip, it'd be a very general discription as I've already stated.

ACR/Canon D5 Colour Balance - nasty pinkish skin tones

I use macbook pro, 2.33GHz/3GB 667MHz RAM with CS3 and ACR 4.3.1. I shoot Canon D5.
When I shoot RAW, I get this strange pinkish look to the skin tones that I can't seem to correct. I've experimented with colour balance and hue, and the HSL and camera calibration tools, but not happy yet.
Apologies if this is a basic issue, but would love some advice.
Thanks.

I think that is a standard catch-all message but it really is a poor show that a simple download page is so often unavailable.
Just part of the new look Adobe. It really is a pity there's no serious competition yet, but if they keep going downhill at the present rate there will be!

Mini-DVI to S-video adapter and no colour on TV screen

I just purchased a mini-DVI to S-video adapter for my MacBook. I want to connect it to my TV through my DVD/Video player.
I do get a nice picture on the TV and I can manage it in the screen settings panel, BUT the TV-screen doesn't show any colour, just black and white. Why?
I've tried several settings in the Preferences panel, but no luck. What to do?

The cable is brand new and I've checked it with a mulitmeter. It's OK.
I've also heard that this is a fairly common problem with S-video and I got a tip to try the composite video instead. It worked beautifully, so now I've got nice and crisp video in full colour on my TV!

Follow up to frozen mac... strange colours on screen?

hi everybody.... my screen has just had a funny turn.
red and electric blue appeared replacing some of the colours of the images i was looking at... (black being replaced in part)
web page, then screen saver, then iphoto... checked display in preferences... clicked again on imac and it went away. my question is this the start of my display or graphics chip failing??
and could this also be related to my screen locking up... freezing. I been getting "ghost" blocks of pixels... sometimes from a open web page or folder icon coming thro' or replacing part of a image. hard to discribe... its almost like the display remebers another part of the screen.
any tests that I could do to see if its the graphic side of things or is a visit to the Aple store.
any ideas ...
thanks
mark

Thanks for the suggestion srojtas.
The eMac has been running fine since posting this and completely passed the Remember memory test. I also tested it by filling the memory up by opening many apps and it didn't crash at all there either.
The eMac didn't come with a hardware CD sadly, so I can't test it that way!
I feel now it must have all been due to me not seating the memory correctly.

Different coloured text in one Textbox

Can someone PLEASE help me!!!!!!!!!!!!!!
I need to know how to have different coloured text in the same textbox.
My application has text being inputted into the textbox every 5 seconds from 2 different sources. I want to differenciate the text by showing the user 2 different colours for each source.
Thank you very much

Acording to the first post it also shows data, so it is a GUI component. i never sow a textbox.
JTextPane can show data in different colors. also JTextArea can.
Noah

ICal: only one colour in year view

Hi, my issue is that my different calendars (Red- college, green-work, blue-holidays), all appear as yellow when viewing iCal as year view. When viewing the calendar as weekly and monthly I can see which calendar is which, but in year view I can't. This means that I see a huge block of yellow and can't differentiate days I'm in class from days I'm on placement, or days I have exams from days I am on holidays.
Please help!!

Fufidus, I have the same gripe and I know what you're talking about.
I have about four different calendars (Work, Family, national holidays and a shared calendar 'Leave schedule'). Each has its own colour, and I would expect that when I look at my various events (some stretched out over weeks and months) I should be able to see that colour representing the respective category in the year view. This would make sense and allow me to differentiate between the different categories over the year planner view and therefore have a good overview for the year. This is important for me as I need to plan my schedule between work and family at least 6 months in advance and likewise with my colleague.
What actually happens instead, is that all those different calendar categories all show as one colour, being yellow highlights, which doesn't help at all. It's confusing, especially if I'm trying to collaborate with my colleague or show the year view to my wife. We cannot distinguish any of the events on the year view unless you click on that day. The four categories just merge as one colour on the year view. Spots where two events overlap become red.
A picture is a thousand words so here is a snapshot. Tell me if this would make any sense to you....
If you switch back to month view, then the category colours appear as they should.
I hope the iCal developers could take note of this issue if they have not already done so and perhaps improve on this in the next update. I would be most grateful. I don't really fancy having a third party app as I'd like to keep things simple and keep to one OS X app that can sync between devices.

Trying to fill a shape or change text colour-it is always grey instead of the colour I picked?

I have been working on a file and whenever I have a couple of shapes and some text. When I try to change the fill of the shape or change the text colour it is always changing to grey. It will let me pick a colour, but the box at the bottom(foreground/background box) is always grey as well. Please help.

THANK YOU SO MUCH BARBARA! I really appreciate you taking the time to reply to my simple problem(eventhough at the time it was so frustrating). Thanks again. Leanne

HSL colours

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