Camera Raw shows wrong colors

since update or pushing button " reset Camera Raw settings"
Camera raw shows wrong colors and wrong brightness.
(Adobe RGB, Eizo CG245W)
Photo has not been converted or anything else.
Bridge shows correct collors.... opening in Camera Raw the Photo is much
too magenta and bright....at last opened from Camera Raw in photoshop colors
look normal like in bridge before...(no modificatio made)

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Camera raw 8.7 color and contrast shifts when file opened in ps 6

camera raw 8.7 color and contrast shifts when file opened in ps 6

Thanks ssprengel for the suggestions and running a side by side yourself. I went through all my settings and applied your suggestions and did a side by side each time. I even uninstalled the entire creative suite on my system then reinstalled and updated and I still get the same outcome. It was fine yesterday with the previous version of ACR. It seems like the updated version is not showing the image preview in any color space. When I switch the color space in the workflow options the histogram changes but it doesn't seem to affect the preview window. And yes the preview button was checked on it was just when I was using the screen grab tool in windows it took focus away from the application so that is why the settings appear grayed out. I have attached more screen grabs below illustrating all my settings. Also here is some system info if anyone out there has a similar setup and would be willing to test.
Adobe Photoshop Version: 13.0.1 (13.0.1.3 20131024.r.34 2013/10/24:21:00:00) x64
Operating System: Windows 7 64-bit
Version: 6.1 Service Pack 1

Camera Raw showing up double in PSE 8

Hi
After upgrading to PSE 8, the plugin Camera Raw shows up twice in About Plugins (both show Version 5.5.0.97). In the Open as filetype list, I also see two Camera Raw entries, of which one works just fine, the other one leads to error message "This process could not be executed, because a program error occured" (my translation from German to English).
I noticed that by removing the file Camera Raw.8bi from C:\Program Files\Adobe\Photoshop Elements 8.0\Plug-Ins\File Formats removes one of the entries. So PSE 8 seems to get ACR 5.5 from somewhere else than from Camera Raw.8bi also.
This problem does not seem to be related to my installation, please also see this thread in the PSE forum.
The installation guide clearly states that one has to copy Camera Raw.8bi to the PSE plugin directory, although it only mentions PSE 6.0 und PSE 7.0.
Can anybody give me a hint on where PSE 8 gets its ACR from, and what I would have to do to upgrade it to a new version if I don't keep Camera Raw.8bi in the plugin directory?
Beat Gossweiler
Switzerland

This issue has been resolved.
As per John R. Ellis' post here, Adobe has moved the location of the file Camera Raw.8bi from
C:\Program Files\Adobe\Photoshop Elements 8.0\Plug-Ins\File Formats\
to
C:\Program Files\Common Files\Adobe\Plug-Ins\Elements 8\File Formats\
with PSE 8.
So deleting the file C:\Program Files\Adobe\Photoshop Elements 8.0\Plug-Ins\File Formats\Camera Raw.8bi resolves the problem.
Adobe, please make a note of this in the ACR installation guide.
Beat Gossweiler
Switzerland
Message was edited by: b_gossweiler: Corrected folder path.

Camera RAW: NEF - JPG color dessaster

Hallo...
I use PS CS4 on my Mac. Normally I use Camera RAW to convert my D90 NEF-files to JPG-files without using Photoshop.
In Camera RAW look all colors great. When I convert the 12Bit-Raw-files to 8Bit-JPG's all colors look sad and gray.
Where is my mistake??
In the export-dialog it's not important if i set 16-bit export or 8-bit export - the colors look like crap!
The only workarround i found is to rise the saturation and dynamic for 15-25 points. Is there no better way?

If you are saving to JPG directly out of Camera RAW and not enhancing further in Photoshop then you should probably save as sRGB, especially if you are putting the JPGs out for people to see on the internet.
What could be happening is that you’re saving as ProPhotoRGB or AdobeRGB but the viewer you’re using to verify the colors is not doing color-management properly so it is interpreting the colors as if the JPG was sRGB even though it’s not.
If you are going to be editing in Photoshop then keep the colorspace in ACR as 16-bit ProPhotoRGB and do the conversion to 8-bits and sRGB in PS just before saving as JPG.

Camera Raw vs Lightroom Color Spaces

I photographed RAW image of a Gregtag color target with my Nikon D300 and opened it in camera raw in the ProPhoto Color space and adjusted the develop sliders so that the tone squares on the bottom row matched the ProPhoto values, (e.g approx 238,189,144,103,66,37) and ran the Robert Fors calibration script.
So far so good. I have read that all one needs to do is use the same settings in Lightroom. But when I opened the exact same RAW file in Lightroom and use the exact same develop and calibration settings that I used in ACR, it gives different values for the tone squares. And in fact the values are almost exactly the values for Adobe RGB (e.g. approx 242,200,159,121,84,53). And when I open that file in Photoshop from Lightroom using the ProPhoto color space option the value stay at the same Adobe RGB levels within the ProPhoto color space.
What am I missing/doing wrong?

the values in lightroom are not based on prophotoRGB, but on a prophotoRGB-derived space with the same primaries but with a sRGB tone curve. Since adobeRGB has almost the same tonecurve as sRGB, your values came out close. Bottomline is that the values do not correspond to the ppRGB values in ACR.

Camera Raw 4.6 Color Conversion Issues

I'm using CS3. In the Camera Raw 4.6 import window the color looks great. When I get the image into Photoshop the color looks horrible. I know it's the color profile that Raw is assigning. My question... is there a way to disable the color profile conversion coming from Camera Raw?
I've always had great results without using profiles and now this alters my color. I've even tried to go in and force the image to use a different color profile but at this point the damage has been done by the camera raw plugin.

"I've been doing professional color correction for about 15 years and know how to use the programs without the use of color profiles."
You're always using profiles no matter what, both a source and and destination for everything from your monitor to working RGB, CMYK and Lab to output profiles for proofing and print.
You need good profiles to define the hardware devices and color spaces. Without them, it's all only a guess.
"When I say "great color", I mean to say Photoshop doesn't adjust my color with profiles because I have profiles disabled."
There's not really a way to disable profiles in Photoshop. You can sort of turn them off, but the default profiles in your Color Settings dialog are still in effect no matter what. In fact, you can't even display in image in RGB or CMYK without at least two profile, and more often three.
Just having profile in the loop doesn't mean that Photoshop will "adjust" your colors. Photoshop will only do what you tell it to do.
"My monitor is corrected and I have no need to use profiles since I understand UCR & GCR conversion for printing."
You monitor is corrected? How? Have you calibrated it? After the calibration Photoshop needs, you guessed it, a monitor profile, in order to properly display your images. And how to you get from the RGB of your digital captures to the CMYK you need for offset? Yeah. Profiles. Even if you're using the archaic and outdated Custom CMYK to set your total ink and black generation, you are still in effect, using profiles. You are using the parameters defined there in the same way custom measurement are used in ProfileMaker to generate a custom ICC profile. It's just not as accurate.
"Also, when I have something printed somewhere I have them disable their profiles to provide true color. And I also force acrobat to use my color maps when building pdfs so my printer has no need for conversion of any kind."
How you do know you've made the right conversion for that printer. Most printer just ignore embedded profiles anyway, but including proper output profiles can enable them to display the files correctly on their calibrated screens, and for the more advanced printers, that embedded profile can allow them to use Device Link Profiles to convert your files to custom press or proofing profiles.
"My complaint was that the Camera Raw Plug-in forces me to convert to a profile with 4 possible choices. I was asking if there is a way to disable this?"
It's actually a choice of four different profiles not a profile with four choices. The choices are based on color gamut and gamma in order of increased gamut. There is no way to disable them. What would you put in their place? There are raw converters that will let you convert the raw data to any color space on output, including CMYK. Maybe that would be more appropriate for you. CaptureOne and Raw Developer are the two that come to mind, but they all use profiles.
Hell, even in the golden age of the drum scanner, scanners like the Hell 3010 without even being able to see an image on screen, used profiles, only they called them by a different name - lookup tables. Lookup tables for scanner input and characteristic lookup tables for the analog proofing system the house used.
"I found if I convert using the Adobe 1998 profile the color comes out close, I simply have to increase the saturation to return to the original optical image values. I would however like to bypass this step."
It sounds to me like you need to spend a few weeks getting up to date with the tools that are available now. Between hardware monitor calibration and custom CMYK output profiles that take into account different ink limits and black generation, you're missing out on a boatload of fun.
A lot of things have changed in prepress in the last fifteen years not the least of which is that little number called Direct to Plate. Since everone has gone DTP, the one thing that has gone by the wayside are any kind of overall proofing standards. Where you used to be able to send the same file to ten different printers and get back proofs that were extremely close, now they're all over the map. The only way to effectively deal with this is with custom profiles for the high end digital proofers that printers use today.
Sure, you still need to take into account the specifics of total ink, highlight and shadow values, but you simply can't rely on the positively ancient ink definitions in Custom CMYK to work very well for any of today's output. Unless, of course, you and your clients don't mind going through rounds and rounds of proofs.

Lightroom VS Camera Raw 5.5 (color correction)

Hi, does somebody know if discarding the advantage of making layers of Photoshop, is the Adobe Lightroom color correction controls superiors to the CameraRaw PS Interface correction controls ??? I mean for color correction purposes is Adobe Lightroom better tan PS's camera raw interface ???? because for me both controls seem to be pretty much the same thing, does anyone know something about it ??
Thank you in advance !

They seem the same because they are the same thing. Lightroom is basically an interface built around the camera raw processing core so you will get exactly the same results. The only thing really that you can do in Camera RAW that you can't in Lightroom is point curves (the interface simply doesn't expose them at the moment), which are almost never needed in raw conversion, except if you do special effects. I almost never use Photoshop anymore as Lightroom basically does all I need.
P.S. the latest version of camera RAW is 5.6! Lightroom is at 2.6. The last number corresponds not by accident.

I want to use camera raw to make color adjustments after using Ps5 levels.

Pc win 7 cs5. I like the control I get using the Hue/sat controls in Camera raw. However, I like to set Levels in Ps first. No matter what format I use to save the image after Ps adjustments, I am no longer able to open the image in camera raw. I've tried using ctrl+r shortcut, and have tried changing preference to "Handle all Tif files" and " All Jpeg files" in Camera Raw preference dialog. It seems I can only Open a CR file in Camera raw. I believe I have used Camera Raw to edit other formats before, I may be wrong.

How about opening your file in ACR first and making adjustments, then open as Smart Object in Photoshop? Hold down the Shift key to open the image as an Object in PS
You can then create additional layers, but you can also double click the SO layer in Photoshop at any time to go back to ACR where you can make more adjustments and then return to Photoshop.
As long as you keep the SO layer in PS you can go back to ACR as many times as you want.
Just be aware that any adjustments that you do in PS will NOT be reflected in the SO when reopened in ACR.
Depending on what you are doing this may work well for you or it could be frustrating. Try it and see if it works for your specific image.
Even if it seems to not be helpful for your specific image, it might work very well with other images. (depending on your changes in PS)

Flash Player (Web Export) showing wrong colors

Cheers!
Sometimes when I look at my exported galeries I'm not satisfied regarding the colors. Up to today I thought that this is based on my week skills in developing photos.
But that seems to be wrong! Please helpt me with the following:
I'm exporting via Web Module using a simple viewer template (which uses the adobe flash player to display images). Now I fire up that little web page in my browser (safari or firefox in my case) and compare what I see with what I see in lightroom (library module). I can notice a very severe difference in the color presentation. Next I start a second browser window and place it beside the one showing the flash player galery exported before. Within that browser window I call the image from the image folder within the exported web page and compare both. Hence! It does not look like the same.
To illustrate that I shot the following a couple of minutes ago:
http://minolta.karlos.at/test.png
On the left you see the lightroom web galery (simple viewer) and on the right the jpeg picture itself. (You can try that by starting the web galery and then click on the photo and launch it with the command "open picture in new window"
Weird!
Is that behaviour known and is there any solution to avoid this wrong color display?
Thanks!
C.

Flash is not color managed (although in the latest version you can somehow turn it on I understand) so it will never show the right color ever. That said, if you have a good display but not so good it has a wide gamut, and you calibrate correctly at gamma 2.2, you should see very similar color. The problem on Macs that have not been calibrated is that the default gamma is wrong (even Apple says this) and they have to be calibrated to be right. Normally Safari color manages so the gamma of most images gets automaticaly corrected, but it cannot color manage flash.
That said, from your screenshot it appears the difference is entirely due to the difference in gamut between your display and sRGB. There is nothing you can do about it but pester Adobe to enable color management for the latest flash versions in the Lightroom flash galleries. Of course nobody that looks at your gallery will actually see the right color anyway as basically nobody calibrates their screen and most people do not even use color managed browsers.

Overlapped polygon boundaries of the map image shows wrong colors.

On using mapviewer getMapImageURL function to create gif,png image, the overlapped polygon boundaries of the map image generated shows different colors compared to the map window . Please help me on this.

Can you post example images someplace for us to look at?
Also are you using the java or javascript api?

Lightroom shows wrong colors, but fine after export

Hi,
since some time Lightroom seems to show me a reduced color depth which get especially apparent in darker areas. See the dark area to the very right in a screenshot from Lightroom:
and exported as sRGB (similar in AdobeRGB or ProPhoto RGB):
I'm using Lightroom 4.4, but the Lightroom 5 test version shows the same behavior.
Any ideas? Thanks,
harzi84

Thanks so far!
Here is the side-by-side comparison of Lightroom, Windows Photo Viewer and IrfanView. IrfanView uses the color profiles:
Here is the original RAW: https://dl.dropboxusercontent.com/u/53767176/PA130145.ORF
and an exported DNG: https://dl.dropboxusercontent.com/u/53767176/PA130145.dng
Thanks,
harzi84

Adobe Camera Raw: calibration and color accuracy

"In this article I report the accuracy reached with the above scripts in my calibration effort, some validations in different lightning condition and the impact on new color balance caused by the adjust sliders and the tonal curve movement."
If someone has an interest.
Link to Article
Ciao
Marco

Chris,
>>>
The ICC uses LAB D50, as does Photoshop.
Marco,
>>>
(prof. Boscarol) on his forum:
>>>
1.Lab is not absolute and there are infinite Lab.
>>>
2.The illuminant E is a theoretic reference illuminant
I must disagree with the implied conclusions in both statements, but with a friendly, not confrontational tone. And, Adobe and other software may be assuming Lab is D50. I cannot and would not dispute that.
What I said is that if you follow CIE math, the color values in Lab mode will be at Illuminant E. I stand by that conclusion. But there is little in the way of enforcement when it comes to standards.
Lets start with the CIE color values from measurement to numbers. This is the illuminant times the subject (measured) times the standard observer. It requires matrix arithmetic because the operations have to span the visible spectrum. So it is a little more involved that simple multiplication, but that is not conceptually important at this point.
The light source may be defined by a standard such as D50 or D65 or it can be provided in a custom set of tables (from measurements). The subject (raw image) values are adjusted for the measurement instrument to represent illuminant E (equal energy). This would be the spectral response of the color filters and such in an image sensor. The standard observer values are provided by the CIE, again at illuminant E. The resulting XYZ values are at the white point of the illuminant used for the source light.
Before moving on, the image sensor spectral response tables are too often not available. Thus assumptions are made that make calibration so bloody difficult. Enough said.
These XYZ values are then transformed to Lab values. The math in this step effectively removes the original light source from the XYZ values, resulting in illuminant E. This is how it is described in the literature, Berns, Hunt, and Wyszecki. If one adheres to the rules, Lab will always be illuminant E. XYZ values without a white point definition are as meaningless as RGB values without a profile definition.
But there is no enforcement body. I have seen lots of code that does not adjust for the XYZ white point at all. In that case, there would be an infinite set of possible Lab white points.
If you assume Lab is always D50, D65, or whatever floats your boat the transforms from RGB to Lab to RGB again would not be compromised. The ICC does define a white point in each ICC RGB profile. So if the input colors are correct, the output colors will be correct. It isnt too important what white point is used for the intermediate step.
But if you take a file in Lab mode from some other source, the white point would be very important. If I give a Lab file to Fred in E and Fred assumes it is D65, color conversions will be wrong. If Fred creates one at D65 and hands it to Adobe, chaos reigns. The ICC does not have a profile for Lab mode that I am aware of. So I dont know that the ICC attempts to trump the CIE as suggested. If someone knows of a verifiable reference for this, I would love to hear of it. The TIFF metadata does have a tag for white point. But I have never seen it used in a Lab mode file, including Adobes.
Illuminant E is no more or less theoretical than any other Standard Light Source. But it is at the core of all color matching algorithms and the basis of the standard observer target values. It is most often simply referred to as the equal energy light source so it might not ring a bell like D50 or D65.
The conversions between Lab and LCh and the algorithms for Delta E 2000 color differences are all implicitly dependent on Lab values at illuminant E.
I rest my case.
Cheers, Rags :-)

Adobe Camera Raw for Nikon - generate JPEG with color off

Hi,
I am learning Photoshop and Camera RAW. I am using CS2 and ACR 3.7 on Windows XP.
I have noticed that the JPEG file generated by CAMERA RAW has the color slightly off (towards the bluish direction).
This is what I did, I started Adobe Bridge, I opened up the Nikon RAW file (from D200) with Camera RAW and then generated the JPEG file without using any AUTO or custom setting (took the As SHOT setting). After the JPEG file is generated, I compared the JPEG file, with the file on Camera RAW window, the color of the pictures don't match up. So what you see on Camera RAW window is not what you get in JPEG. The color shown in the Camera RAW window is warmer than the JPEG file. I used the Widnows default jpeg viewer and the Arcsoft Editor to look at the JPEG file, and confirmed the color of the JPEG file is off from the original RAW filed viewed Camera RAW widnow.
However, when I opened that same JPEG file (generated by Camera Raw) in Adobe Photoshop, and the original RAW file (without any modification) in Photoshop, the color of the JPEG file matches up the color of the original RAW file only in Photogroup. I am confused now.
Why the color of the JPEG file (generated by Camera RAW) looks OK on photoshop, but it is off in other viewers (default Windows viewer or ArcSoft Editor). However, when I used PictureProject (supplied by Nikon) to generate the JPEG file from that same original RAW file (without any modification), and I looked at the JPEG file (generated by PictureProject) on Photoshop, Arcsoft Editor, and default Windows viewer, the color matches up to the original RAW file on all viewers. So the problem only happens to the JPEG file generated by Camera Raw. Any idea?
Thanks,

When you saved out the JPEG in Camera Raw, what color space did you save it with?

Why the colors look so different betweet my Camera Raw and Bridge?

We know that after editing images in Camera Raw, thumbnails in Bridge will updated according to the new xmp files.
However, for some of my Raw files, the colors look very different in Bridge after makeing adjustments in Camera Raw, I can see more red in those phoots. But when I reopen the file in Camera Raw, all the colors are just correct.
For those photos without applying xmp files the colors looks exactly the same in Camera Raw and Bridge.
Does this means that my Camera Raw and Bridge use different color space? How can I fix this problem? Thank you

If you want help, you need to specify your platform (Mac or Windows), the exact versions of your Operating System, Photoshop, ACR plug-in and Bridge.
Also look at your Bridge preferences and tell us what you have your Thumbnail preferences set to.
Re-setting your preferences and purging the cache would also help. It could be something as simple as a corrupt cache.
Bridge is Color Managed, but it does not use a color space of its own. It applies the color space with which each image is tagged, it assigns sRGB to untagged files.
When was the last time you calibrated and profiled your monitor?
Details would help.
Wo Tai Lao Le
我太老了

"Camera Raw Preferences..." / "Open in Camera Raw" broken (using Bridge 2.1.1.9)

I'm having some trouble getting Bridge to see my Camera Raw plugin -- oddly enough, I can double-click on a raw file and it'll open in
ACR via Photoshop, but it won't load in
ACR on its own. On top of that, Bridge isn't showing me the thumbnails for any of my raw images (though it will show thumbnails for JPEGs) and both the "Camera Raw Preferences" and "Open in Camera Raw" menu items are grayed out:
For what it's worth, I'm running Adobe Bridge 2.1.1.9 and Photoshop CS3 10.0.1 on a MacBookPro running Leopard 10.5.2. Here's what I've tried so far:
I've read over the entire "
++ Debugging ACR Installation Problems ++" thread and I've done my best to precisely follow the directions there...
As mentioned in that thread, I've installed "Camera Raw.plugin" to Macintosh HD:Library/Application Support/Adobe/Plug-Ins/CS3/File Formats/ (and I've also searched my hard drive to confirm that this instance of "Camera Raw.plugin" is the only one on the drive) :
(If you click on the screenshot, you'll see a larger version.)
I've also checked Photoshop's About Plug-in menu and I've confirmed that "Camera Raw" appears exactly once:
After clicking on "Camera Raw" from the plug-in menu, I can confirm that it's version 4.4.1:
I've also run "Tools->Cache->Purge Cache" for various folders that have raw images and, along with that, I've tried manually deleting the Users/[Username]/Library/Caches/Adobe/Bridge folder.
Just for good measure, I've also tried starting up Bridge while holding down the Option key and then choosing the option to delete all the prefs from the dialog box that comes up.
Any ideas on where I've gone wrong?

I started experiencing this same problem three days ago when I installed ACR 4.5. I have been through the forums, trying anything and everything that has worked for other users. Finally, I hit on one crazy possibility.....and it worked.
ACR was working fine in Photoshop, but suddenly in Bridge it would not display thumbnails for my CR2 images or allow me to open them in Camera Raw.
So what fixed it for me? Remember, I had tried everything mentioned in all the posts and none of it fixed it. But one user pointed out that they only had "Camera Raw" show once in Photoshop's "About Plug-In" menu. I had noticed I had it appearing four times, once for 4.5 and once for each of the three previous versions! Working on a hunch, I went to the folder where CameraRaw.8bi exists and found that I had a "save" folder there as well. The save folder contained the three prior versions. I moved the save folder outside of this location -- AND ACR WORKS AGAIN IN BRIDGE!!!
So now I'm left to wonder only one thing -- did this work okay until I added 4.5, or did I somehow create the save folder (and add previous versions of ACR) in my sleep when I installed 4.5? In the end, I'm just happy that it works again.
I hope this helps a few others of you out there!

Camera Raw shows wrong colors

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