Tone Curve Channel Histograms

Just a small piece of feedback - the new tone curve individual channels are great, but the histogram in the background of the curve is very difficult to see. Any chance you would consider increasing the opacity of the red, green and blue? The RGB is more visable.
Many thanks.

This is a very valid point and would make a great feature request. You should consider submitting it through the official channels (no pun intended) http://feedback.photoshop.com/photoshop_family/products/photoshop_family_photoshop_lightro om put your idea here and I will vote for it.

Similar Messages

  • Tone curve RGB histogram visibility

    Hi all.
    I installed lightroom 4 Beta this afternoon and quite liked the addition of the individual RGB colours adjustable in the improved Tone Curve interface (Develope module), but feel the actual histogram colours of Red, Green and Blue are barely visible. Can you guys at Adobe improve this please?
    Thanks,
    Kevin.

    I'd like to add that this is the Mac version, but I doubt it really matters :-)

  • Camera Raw - Enable RGB Tone Curves

    In Camera Raw, the Tone Curve Channel selection is disabled.  How can I enable it to allow me to adjust specific colors in Camera Raw?
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  • Feature Request: RGB Histograms / Tone Curves

    Hi team,
    It would be really helpful to be able to view the RGB Histograms separately in addition to a composite (rather than the "compact" mode we have now).
    It would also be really helpful to be able to adjust the Tone Curve applied to an individual RGB channel in Develop.
    Finally, it would be most helpful to be able to see the RGB values as well as or instead of the RGB percentages when moving the cursor over an image area.  This would be particularly helpful for fine-tuning skin tones.
    Thanks, and keep up the great work.
    We're delighted you're evolving Lightroom!
    Cheers,
    Matthew

    Your post seems to assume that Lightroom is a tool for travel/landscape photography, and other types of photography (e.g., portrait/fashion) should be supported by a "specialized add-on module". I have to disagree with you on that point. Considering many of the examples on the Lightroom marketing are fashion shoots, I would think that they considers portrait/fashion photographers to be an important part of their target audience. They are not a fringe group of specialists.
    I'm sure that portrait/fashion photographers would feel the same way about a Lightroom capability that primarily benefits the workflow of a travel/landscape photographer, i.e., when I do do some landscape work, I just edit in Photoshop. But you wouldn't agree to that, would you?
    Skin tone measurement can be an incredibly easy tool to implement. It can be something as simple as showing the CMY values alongside the RGB values during a mouseover. Keep in mind, I'm talking about CMY not CMYK, so there should be no need to worry about what ICC profile to use. RGB to CMY is a straightforward transformation. It's embarassingly simple.
    There are other ways Adobe can implement skin tone management that would be more powerful but a little more complicated. Those would be great too.
    Anyway, thanks for the link to the Adobe feature request page! I will use it.
    Regards,
    Mike

  • LR4.1 - Tone Curve - how to adjust individual RGB channels?

    Hi,
    I am having trouble figuring out how to adjust the curve of individual RGB channels.  I am assuming the LR4 Tone Curve works like the PS Curves dialog with the channel dropdown.
    The LR4.1 Help says:
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    John

    Good morning John,
    The point curve is the one without the sliders. The adjustments for the individual channels are only available with
    PV2012. You must be editing a file with PV2010 or 2003. When in PV2012 you will see " Channels:   RGB" below the curve window. Click on the doule triangles following the RGB
    to pick the individual channel.
    HTH
    Rich

  • I have lost my "Basic" panel in the Develop module and can't figure out how to get it back. My right panel goes from the Histogram straight to the Tone Curve panel.  My Basic panel should be below the Histogram.  Any ideas how to get it back.  I have even

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    Right click on or near one of the other headers and a pop-up will appear and you will be able to select the Basic Panel for viewing.

  • LR5 Cannot find any Channel Pop up menu in Tone Curve?

    Am reading Kelby's LR 5 book page 162 + 
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    What am I missing, I'm in Win 64K
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    if your tone curve panel looks like this than click the little box with the curve in it in the bottom righthand corner.
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  • RGB Channel unavailable in Camera Raw under point in the Tones Curve

    How can I use the the RGB channel in Camera Raw under Tone Curve?

    Hi yariel83,
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  • I was processing pictures and the Basic function on the right has disapeared ( the one that has Exposure etc) I know see the Histogram, then Tone Curve, HSL/Color/B

    I was processing pictures and the Basic function on the right has disappeared, the one that contains Exposure, Contrast etc. I now have only the Histogram, Paint Brush etc, then it goes to Tone Curve, HSL/Color/B&W and all others down to Camera Calibration. How can I recuperate Basic ?? Thanks for your help

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  • Tone curve RGB

    I am trying to alter individual RGB channels within the tone curve box, but I don't get a pop up dialoge box. I saw a mention of PV 2010 and PV 2003, but I don't know what these are, or if one can convert to them.

    Look in the camera calibration panel and it will tell you. Alternatively, if you're seeing the current set of sliders in the basic panel (e.g. highlights, shadows, etc.) then that would confirm you're using PV2012.
    Go to tone curve, click on the little curves button at the bottom, and you'll be in point curve mode. Click on the RGB button to choose a colour channel.
    As you're on the web, I recommend searching for "process version Lightroom" to find out more about that side of things.
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  • Which do you prefer: Increasing exposure or adjusting  the tone curve?

    I'd like to know how people here handle their images.
    I use a Nikon D7100 in camera RAW. In camera my images are always in balance. In LR, if I select Auto Tone in Basics invariably it will adjust the exposure. I tend to adjust exposure near last in my workflow because I assume my camera had the exposure setting right. When I feel I need to adjust the exposure my first stop is the Tone Curve. I'm wondering a couple of things:
    1) I know we edit by the specifics of each photo, but generally do you make adjustments to Exposure or the Tone Curve first?
    2) Is there a reason or a time to prefer one over the other?
    Thanks,

    My recommendation:
    (note: I am interpreting "exposure", in your question, to mean "dynamic range at right wall of histogram", i.e. white point)
    Adjust basics exposure first (before tone/point curve), but note: you may not be able to go all the way using the exposure slider. Next stop (if necessary): +whites, but note: it may not be optimal to go all the way using whites. Final stop (if necessary): cinch in the the exposure by dragging white point to the left via the point curve.
    Rationale: basics have some intelligence and magic that tone curve does not. If you do tone curve first, you've missed some opportunities..
    Still a begging question: how much exposure vs. whites vs. tone curve (point curve).
    Note: go easy on the contrast at first, and assure blacks are sufficiently seated using blacks slider (and maybe tone/point curve).
    Likewise, cranking whites up will increase global contrast, so if you take a shot at blacks and whites before contrast, then you may avoid a common mistake: radically wrong contrast due to adjusting before establishing ballpark black & white slider values.
    Anyway, be aware that increased PV2012 exposure (and/or whites) is designed to be used with -highlights (note: there is no "brightness" slider), and to avoid making things too washed out (or over-jamming the highlights) it may be desirable to substitute +whites and/or +shadows for some +exposure.
    Note: tones may gang up (on the right side of the histogram) in a non-optimal way when using +exposure and/or +whites, in which case it may be better to use point curve for white point adjustment (e.g. leftward drag). For example, sometimes the whites will be overly compressed if you don't bring white point in on the curve instead.
    Rules of thumb:
    Most of my normal photos end up with:
    +exposure (to fully brighten)
    +whites (for full dynamic range without excessive exposure setting)
    -highlights (for dialing back +exposure and/or +whites)
    +shadows (so -blacks and doesn't leave image with overly dark shadows)
    -blacks (for full dynamic range without needing as much contrast)
    *contrast: depends - if overly contrasty to begin with (or a lot of -blacks and/or +whites are employed), this usually gets dialed back; if underly contrasty to begin with (or +blacks and/or -whites have been employed), this usually gets bumped up.
    (for abnormal photos or when desiring abnormal results - anything goes..).
    Other common mistakes (in addition to wrong contrast and/or non-optimal balance between exposure & whites..):
    trying to recover highlights via -whites. try -highlights (and maybe +whites) before -whites.
    Warning signs:
    if you have very high values for +shadows and -highlights, you may have contrast set too high.
    if you have a positive value for highlights, you may have contrast/exposure/whites too low.
    if you have a negative value for shadows, you may have contrast too low, or blacks/exposure too high.
    Miscellaneous:
    Try +clarity and +saturation (and/or +vibrance) to pump it up, if reduced contrast and/or increased exposure has left it looking a little washed out.. (likewise, -saturation if +contrast has left it looking a little too "rich"..).
    You already know this, but for the sake of completeness (and other readers): you can learn by clicking 'Auto Tone' "button". You may need to dial back the exposure afterward etc. but it can be very educational none-the-less..
    Of course, you can always fine-tune tone using tone curve (e.g. if image is just way overbright, like some snow shots, try tugging the midpoint downward..).
    Don't forget the locals for final spot toning.
    In case you haven't gleaned yet, adjusting via PV2012 is not the same as you might think at first - you don't just set exposure/black/white points and leave them, and then adjust everything else. e.g. -highlights pulls white point down more than -whites does (but +whites brings white point back up, which means you usually need to adjust in tandem..), so be prepared for a lot of back n' forth, to lessen with experience..
    PS - There are tutorial videos galore, but at the risk of opposing Adobe and their sycophants, be forewarned: some are geared to how they wished PV2012 was (simple), and not to how it really is (interdependent image-dependent settings..)   - examples:
    top-down is touted, but that ignores black/white point issues which can lead to radically wrong contrast (and/or exposure) setting.
    often, adjustment of blacks is considered optional/fine-tuning, but blacks sometimes need large value adjustment, and dramatically impacts contrast & shadow brightness..
    often, adjustment of whites is considered optional/fine-tuning, but sometimes optimal toning can only be had by using a large whites value adjustment, which dramatically impacts contrast, and exposure..
    cteavin wrote:
    I tend to adjust exposure near last in my workflow because I assume my camera had the exposure setting right.
    In case not clear yet, adjusting exposure and/or whites (and/or white point on curve) and all the rest is often done to turn an image "with potential" into a very nice image, not just to compensate for in-camera exposure imperfection. I have lots of under-exposed images that end with -exposure (granted, usually +whites), and vice-versas.. That said, if you don't know whether to crank it up or down, there is something to be said for passing until you do..
    Lastly, for emphasis: exposure slider is an intelligent slider. It behaves more like normal exposure adjusters at lower values, and more like brightness adjusters at higher values (has clipping protection and highlight roll-off logic which kicks in as you crank it up..). So, it's a mistake to think of adjusting it just to make up for non-optimal camera exposure setting.
    Sorry for verbose answer, but there is really no short answer which doesn't run the risk of being bad advice: best way to adjust "exposure" depends...
    Cheers,
    Rob

  • Lightroom 5 Tone Curve

    Hey  i m really a newbie to lightroom 5 and i sometimes come across a issue while using a tone curve ... that for some images the Tone curve displays "Channel" options and for some not ... my question is how to make it visible for all images .. please help ..and thanks

    Make sure the process version on the image is set to 2012. Look in Camera Calibration.

  • LR4: tone curve settings lost after upgrade

    I've find an annoying bug in this new version that makes me really crazy.
    I've a Nikon D300S and a D7000.
    After the importation of the catalog in the new Lightroom 4 all the D7000 .dng files have lost all the tone curve settings (I normally use linear).
    The D300S files instead retain the tone curve settings.
    It's a very strange behaviour: I've lost more than half of my old photo settings.
    It's really frustrating.
    Will be resolve soon this problem?
    Until that day, for my older works I'll be obliged to continue to use LR3.

    I've probably found a sort of workaround!
    I've made some "organized" tests and here I report my findings.
    Using LR3.5, I prepared a "test catalog" using 4 images from 7 different cameras (28 images total): for each of them, I used both the original nef and the dng converted file (56 files in the catalog), all develop process was set to "2010".
    The cameras were Nikon D70, D90, D200, D300s, D700, D5000, D7000.
    I applied a strong tone curve to each image in a way that the appearance was heavily characterized.
    Before exit LR3.5, I SAVED ALL THE METADATA TO THE FILES.
    Opening and converting the catalog using LR4, doesn't show any visual change until I zoom in library or open the develop module: both these operation lead to a flat image with the strong tone curve lost.
    Curiously, the history retains the original steps but they are ineffective: histogram and tone curve changes according to the visual change but for some camera the "new" tone curve is "medium contrast", for others (D5000, D90) is "linear", for D300s is "custom" (linear with blacks cut at 9.8%, and this explain my initial impression that D300s's curves were untouched, sorry). This last behavior may depend on the fact that I've different default develop settings depending on the camera serial number.
    Finally, the update to the 2012 process only minimally changes the visual appearance and surely doesn't restore the lost tone curves.
    And here is the UNEXPECTED WORKAROUND: doing a READ METADATA FROM FILES IT RESTORES THE TONE CURVES (and the 2010 process)! Upgrading the process to 2012 minimally changes the visual appearance again but now the strong tone curve is present and evident.

  • Custom tone curve

    When I adjust RGB values on the curve (eg I pull down the blue to warm things up a bit) the "linear" in the option menu below the curve changes to "custom". When I then change the tone curve to medium or strong contrast, it nicely obeys and thus so, but what then surprises me is that the Blue curve in the RGB settings is again totally flattened out...does it retain the prior adjustment or does it just ignore it ? I only noticed just now on a relatively ok picture so it's easily enough to check but still it's odd that an earlier slider adjustment seems to disappear.
    Anyone who can enlighten me on this ?
    Tx. Frederic

    Not sure if I understand. Let me try to explain my workflow : usually i start with camera profile (i'm a landscape guy) then basic panel tweaks,color temp if needed, a bit of the cool shadows/highlights, some blacks,clarity etc. then perhaps a graduated filter or lens profile...i hardly ever use the contrast slider (I never liked it in previous LR versions and haven't really touched it now) - BUT then my next move usually is to fool around with the tone curve, before (LR3) mostly via the sliders, now (LR4) mostly via the presets (linear,medium,strong) because I get confused between highlights/whites in BP then highlights/lights etc in TC panel, so I don't bother with those sliders in the TC panel anymore and I just click the presets. Now at long last back to my question : sometimes I try to use the new tone curve RGB to correct a blue tone or so, and then the preset name changes into "custom" and at the same time the curve nicely slopes the way I nudged it. When I then click on one of the presets in tone curve to L,M, or Strong the curve readjusts again.if I then check back on RGB blue channel again there is a nice straight diagonal as if nothing ever happened but the color tone seems to be preserved..net net it seems to do the right things to the pictures but the curve tells something different and that's what I don't get...
    Sorry for the all the talk but I don't know how to explain it better. Perhaps I should just post a video of the dam thing.
    Cheers. Frederic

  • Natural Tone Curve

    Hi
    I try to find a "Natural Tone Curve", meaning a tone curve which accounts for the non-linearity of human vision, but no pleasant tweaks added. I wonder in how far the interacting tone curve combo of PE/CR is such curve.
    1-in the PE:
    In
    Eric Chan, "Starting profile for ColorChecker calibration in PE" #1, 24 Oct 2008 6:01 am
    you (Eric) state that
    "The Chart Wizard is designed to produce a reasonably accurate scene-referred color profile (within the technical limits of the input data)."
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    2-in CR:
    Is the Medium Contrast S-curve really part of the difference between human vision and linearity? Or should I set it to linear to be most natural?
    In particular, again, the part reflecting the deepest shadows seems to be quite deliberately tweaked.
    Thank you for your input.

    Hi Eric,
    thank you for a VERY fast reply! -
    I learn that perceptual linearity is handled by ICC profiles, not by tone curves in the PE or in ACR. -
    The advice you give to avoid pleasant tweaks is the recipe for a linear image, as you have given it to Brent Townshend
    http://www.adobeforums.com/webx/.59b71da3/0
    This was not what I had in mind. I am aware of that a linear image will not look natural.
    In terms of the scene referred workflow as described by Tindemans
    http://21stcenturyshoebox.com/essays/scenereferredworkflow.html
    what I search for might be described as a subdivision of step 2 (called creative processing). There must be an area between linear and purely arbitrary, we might call it natural. The fact that this area can not be easily defined let alone measured objectively ought not to preclude us from at least identifying and naming it. As it is now, we can not even in terms separate between natural, and beautified ad libitum. Arbitrariness is being presented as unavoidable.
    So my question aimed at: (How) can I make a base curve that is natural, but not beautified (by exaggerating the contrast)?
    "The Chart Wizard is designed to produce a reasonably accurate *scene-referred* color profile" - but how is the "rendering intent" of the Base Curve?
    I tried your advice with the linear curve in the PE + lightening in ACR on both the ColorChecker image and a real scene. The CC could be made look reasonable. But this is an image where the histogram has headroom on either side. So I experienced it like you said: this may work with an image whose DR matches that of the medium. With the real scene, whose histogram stretched end-to-end in the first place, using the Exposure slider led to highlight clipping at once, as exspected; instead, I had to use the Brightness slider - that is increase the contrast, if I understand it correctly.
    So it looks like-:
    1-The task of the Base Curve is to map the DR of an image to that of the screen
    2-If there is any answer to my question, it is image-dependent. On the other hand: the PE uses ONE Base Curve. So the question may be allowed: What is the "rendering intent" of that curve?
    Kind regards - Hening.

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