Canon 5D Mark II Standard Profile - way off (reds)

This could also be in the Lightroom forum, but here is probably the better place.
I have always noticed that of all the cameras I ran through LR/ACR the Standard profile for the Canon 5D Mark II is way off in terms of reds. This mostly shows in shots that are underexposed and have tungsten light.
Adobe's Neutral profile is way closer to Canon's Neutral Picture Style. Adobe's Standard profile can yield very unpleasing skin tones with a red-orange cast that's at its worst in the shadow zones.
Here are some examples. ACR and DPP have Exposure set +1 and White Balance to "as shot".
ACR is in its default settings (Blacks 5, Brightness +50, Contrast +25, Medium Contrast Tone Curve).
DPP has the black point set to -4 to give a similar amount of shadow contrast.
Please note that on a browser without color management this might not look right and you might need to download the images.
ACR 6.1, Standard profile
DPP 3.8.2 Standard Picture Style
ACR Neutral profile
DPP Neutral Picture Style
Thomas

Yes, and I know what WB is also.  And I know that different raw converters interpret the "as shot" wb exif data differently, and therefore there is no reasonable way to compare results without an explicit wb on a neutral object in the image within each raw converter.
I believe that in order to do valid comparisons among the different raw converters one should prepare a test image including a known reference, preferably the color checker chart.  The raw image can then be run thru each converter with the first step being to wb on the second brightest neutral patch, and then (and IMO only then) one can do reasonable color assessments.
Richard Southworth
Added by edit - oops, I see Jeff jumped in, sorry to be redundant.

Similar Messages

  • Canon 5D Mark III Standard Profile - why so different?

    Generally the camera specific profiles in Camera Raw and Lightroom do a pretty good job giving the manufacturer's original look. Especially those for Canon DSLRs are very close.
    With one exception: the Standard Profile for the Canon 5D Mark III sticks out. The LR profile is way more reddish that Canon's own Standard Picture Style.
    I wonder ... is there a certain reason for that?

    It could be a variance in your camera.  Go to the calibration section and adjust the colors and then save new camera defaults.

  • Photoshop can't print to Canon Pro9000 Mark II - ICC profile issue

    I'm using Photoshop CS with OS 10.6.2. I have the latest Canon driver, 10.30.3.0, and the latest ICC profile set for Canon from the Apple driver site. As I begin the print dialogue everything seems fine. Photoshop is controlling color management, and I select the Canon paper/quality ICC profile. After I click print, it sends the print job and I get the following error: Could not print "test.jpg" because the ICC profile is no longer installed.
    I can load the same image into Photoshop Elements 6 and everything works fine, except I have the familiar Canon magenta cast syndrome I still need to work through.
    Any ideas on the "no longer installed" error?
    Thanks!

    The Canon ICC profiles for the respective paper stocks are stored in /Libary/Printers/Canon/BJPrinter/Resources/ICCProfiles. You should have one labelled "Pro9000IIseries.canonicc". I wonder if this profile may have been damaged with the recent 10.30.3 update, assuming that you had the previous driver installed.
    FYI - I found that running the update via Software Update did not correctly update the installed Canon drivers. Even deleting the queue and re-adding still showed the previous 10.26 driver. I found that I had to download the v2.3 Canon update and run it manually. Only then did the installed queues show the v10.30 update. Maybe you need to try the same?
    One way you could check if the profile is okay outside of PS is to print the image from Preview and via the Canon menus, set Color Matching to ColorSync and then select the profile you selected in PS. If you get a similar error then you know that it is a driver issue rather than being related to the application.
    Note that regarding PSE6, Adobe previously acknowledged that there was an issue with double color management, ie both PSE6 and the printer was controlling the color output. Adobe's suggestion at the time was to disable color management in PSE6 and let the printer manage the color.

  • Camera profile Adobe Standard for Canon 7D Mark II

    Hi,
    I am using the latest LR 5.7.1 with a Canon 7D Mark II.
    When using the Adobe Standard camera profile I found the colors to be very muted compared to the Camera Standard or Camera Faithful profiles.
    In the past, I used the Adobe Standard profile for all the photos that I took with my old Canon 7D.
    The results were always rather similar in color saturation to the Camera standard profile.
    But the final results from Adobe Standard were superior to the standard Canon profiles, but this seems to be no longer the case for the 7D Mark II.
    Has anyone else also seen this effect ?

    Would it really do any good for Adobe to communicate an official release date? If they didn't meet that date then you would just call Adobe a liar. Adobe has users from several different companies waiting for support. And whether you believe it or not, there is no providing of specs from camera makers. They don't care whether Adobe Camera Raw supports the camera. Adobe is just another company to them. Adobe has to purchase each camera and then create the profiles for it. The real solution? Camera makers, agree on a common file format. If you won't do that, then YOU take the blame for this delay that happens about four times every year.
    Actually, it would help, Jim. It does not have to be exact... it would help to know "this quarter" or "by the end of the year" or "mid-December". It would help because I could decide whether to find a workaround patch, or switch to a different system.
    The camera makers are more than willing to provide that info, but according to a contact at Canon USA, in 2008 Adobe changed the game and decided to be more proprietary with their compatibility, presumably so that people would be required to upgrade their software every year just to be able to use new camera technology. It was Adobe's decision, and they could easily decide to play nice. But it is an unfair characterization to say that the camera makers don't care if Adobe supports their camera. That is just a silly assertion.
    It comes down to he said - she said, and the two companies are simply pointing fingers at each other. Neither you nor I know the absolute truth about who is right... I only know that I am dissatisfied with Adobe's lack of communication, and slow response when compared to other companies, larger and smaller.

  • Canon 5D Mark II profiling experience?

    I've had very good past experience using the DNG Profile Editor to generate profiles for a Canon 1Ds, 20D, and 40D. Now I have a new 5D Mark II, and the first profiling attempts have been poor. The Adobe Standard and Camera Standard profiles for the 5D Mark II seem much better than my custom profiles.
    My profiles are making much darker blues, much lighter and desaturated reds, and some strange yellows. I'm plagued by blowing snow and dark gray skies now, so finding good light to shoot the MacBeth color checker is a challenge. Thus my initial attempts have been indoors with incadescents, bounce flash, and studio strobes.
    Looking for others with the 5D MarkII who have profiled. What is your experience?

    I have not seen any issues profiling the 5D II.
    Make sure you are not getting flare or non-uniform color casts while shooting the target.

  • Adobe Standard profile for 5D mark II includes tone curve?

    In ACR, I see a "Point" tone curve with the "Adobe Standard" profile on Canon 5d Mark II files.
    I've never seen a tone curve before on standard profiles for other cameras. I understand that tone curves are included in the camera standard, faithful, portrait and landscape profiles in attempt to match the in-camera jpegs. But I thought the Adobe Standard profiles were supposed to target only color (hue/sat) and leave tone up to the user.
    Can someone verify that your system includes a point tone curve on 5D2 raws. Maybe my config is messed up.

    Dear Eric,
    I have Photoshop/Bridge CS3 and Camera Raw Version 4.5.0.175 on Windows XP (SP2).
    To "see" tone curves I launch Bridge, navigate to a folder, double-click a raw or DNG file and get the ACR window.
    In the ACR window, I click on the "Camera Calibration" tab and navigate through the various Camera Profiles.
    For each profile, I click on the "Tone Curve" tab and view both the "Parametric" and "Point" curves.
    For canon 5D Mark II DNG files there is always a "Medium Contrast" Point Curve, under every camera profile. I do not have a Canon 1Ds Mark III, but I have downloaded a sample raw file and converted it to DNG. For this DNG I also see a Medium Contrast Point Curve under every profile.
    For my Canon 20D and Canon 1Ds raw or DNG files the Point and Parametric curves are flat under every camera profile.
    When I downloaded the latest DNG converter and DNG Profile Editor, I'm reasonably confident I also downloaded and installed the most current camera profiles.
    For Canon 5D2 files I see the following profiles: Adobe Standard, Camera Faithful, Camera Landscape, Camera Neutral, Camera Portrait, and Camera Standard, in that order.
    For the Canon 1DS Mark III image I see all those profiles, plus ACR 4.4 and ACR 4.3
    For Canon 20D files I see all those profiles, plus ACR 4.4 and ACR 2.4
    To make sure I'm not picking up any presets, I have invoked the pop-up menu in ACR and selected "Reset Camera Raw Defaults". Then, for each file viewed in ACR I checked the pop-up menu again to make sure "Camera Raw Defaults" was checked.
    And a reminder, all this was after I had created a number of custom profiles from Macbeth Color Checker images using the DNG Profile Editor. Those custom profiles created a problem with Bridge previews, so I removed all of them before viewing Point Curves as described above. Still hoping to get some feedback on the Bridge preview problem I described in this message:
    http://www.adobeforums.com/webx/.3bb6a869.59b790c8

  • Canon 5D Mark III profile not found in Lens correction filter in PhotoShop CS6

    I'm unable to find a profile for my Canon 5D Mark III within the PS CS6 lens correction filter.  In fact, Canon isn't even available as a camera make option within the Search Criteria box, nor are any canon lenses.  When I click the Search Online button, the prompt reads "No online profiles found".  Thankfully, I have no problem within Lightroom 4 (the Mark III and lenses are recognized)-- however, I'd really like to be able to use the new Adaptive Wide Angle Lens filter within CS6, which needs the camera's EXIF data to function correctly.  I'm using a new iMac OS X.7
    Thanks in advance for any help that you may have to offer.

    So that makes me wonder if Lightroom keeps its own Lens Correction folder and if so,perhaps you can copy its Canon folder to Photoshop CS6's lens correction folder.
    If you still cannot find it,you can create your own custom profile or download it if it's already been posted.
    This article should direct you to the profiler and downloader software. You will need to install Adobe Air to use the Adobe Lens Profile Downloader.
    http://labs.adobe.com/technologies/lensprofile_creator/
    Gene

  • Lens profile Canon g1x mark II

    Dear all,
    yesterday I installed the new Lightroom 5.5.
    I own a Canon G1X Mark II (as a second camera). I can view and work with the raw files of this camera, no problem (this was working with 5.4, too).
    But I cannot see this camera model in the lens profile selection. Only the previous model is listed.
    Now my questions: Is a lens profile for the new mark II available?
    Or will it come with a new release?
    Does anybody know if there is a public lens profile available?
    Regards
    Bernd

    I’d guess the G1X has always-on profiles encoded in the raw files so there’s no external Adobe profile needed.
    Starting with Camera Raw 8.4 plug-in for Photoshop, it will say when there is a built-in, always on profile being used, but LR didn't get this capability, yet.  curvature of straight lines parallel to and near to the borders of the photos or do things look relatively straight.  If the latter, there is probably a lens profile being used behind the scenes, already.
    If you want you can upload a G1X raw file you're curious about, using www.dropbox.com and post a public download link, here, and maybe someone will see it and test for you in Photoshop.

  • I'm using windows 7, trying to download pictures from my canon 5d mark 2, but when I click import, the camera does not appear. I've tried changing USB ports, switching the camera on and off, trying a different USB cord, tried a different camera, but nothi

    I'm using windows 7, trying to download pictures from my canon 5d mark 2, but when I click import, the camera does not appear. I've tried changing USB ports, switching the camera on and off, trying a different USB cord, tried a different camera, but nothing. Please help! This problem only started a few days ago on lightroom 3.6, upgraded to 5.5, but still not working. Thanks.

    Can you see the Canon EOS camera and image files using Windows Explorer? If not disconnect the camera, close all applications' shutdown Windows, and TURN OFF the power to your system and ALL connected devices. Disconnect all phones, iPads, and any other USB devices and restart your system.
    Retry Windows Explorer and see if your camera is showing. If so try LR import again.

  • Tokina 16-28 F2.8Lens Profile for Canon 5D Mark II

    Dears,
    I want to  found a Tokina 16-28 F2.8Lens Profile for Canon 5D Mark II.  Look forward to your soonest reply

    Referencing: Victoria Bampton (Lightroom Queen)
    Your Develop Defaults, Lens Defaults and Custom Point Curves are stored at...
    Windows—C: \ Users \ [your username] \ AppData \ Roaming \ Adobe \ CameraRaw \
    Mac—Macintosh HD / Users / [your username] / Library / Application Support / Adobe / CameraRaw /
    I am guessing if you move them to the correct location they will show up.

  • IMovie can't cope with files off new Canon 5d Mark 11

    Regular forum readers would be aware of the problems that I have been having with iMovie 08 crashing when editing the .MOV files from my Canon 5D mark 11.
    I went into my Mac reseller yesterday and ran a series of test movies on 2 of their new Macs. Same problems on both of them - iMovie imports the files and plays them OK but crashes once the cursor is run along the clip - it seems to lag and have trouble keeping up with the movement of the mouse - then crashes. Also tried it in Final Cut Express and it too can't cope with displaying the footage when the timeline is dragged along the clip - it crashes.
    It appears that the 40 mbit/s MPEG4 and H.264 codec used in the 1920x1080 full HD files created by the Canon 5D mark 11 is just too much for these applications. Not sure where to go to from here!

    I took movie via Canon 5D Mark2. I edited the film via Imovie. However, I encountered problem when I posted it in Facebook. I therefore re-edited the film using 4:3. The problem was solved. In short,
    either internet browser or imovie cannot support full HD film taken by Canon 5D Mark 2 at this moment
    Regards
    Angus

  • I am having some huge problems with my colorspace settings. Every time I upload my raw files from my Canon 5D mark II or 6D the pics are perfect in color. That includes the back of my camera, the pic viewer on my macbook pro, and previews. They even look

    I am having some huge problems with my colorspace settings. Every time I upload my raw files from my Canon 5D mark II or 6D the pics are perfect in color. That includes the back of my camera, the pic viewer on my macbook pro, and previews. They even look normal when I first open them in photoshop. I will edit, save, and then realize once i've sent it to myself to test the color is WAY off. This only happens in photoshop. I've read some forums and have tried different things, but it seems to be making it worse. PLEASE HELP! Even viewing the saved image on the mac's pic viewer is way off once i've edited in photoshop. I am having to adjust all my colors by emailing myself to test. Its just getting ridiculous.

    Check the color space in camera raw, the options are in the link at the bottom of the dialog box. Then when saving make sure you save it to the srgb color space when sending to others. Not all programs understand color space and or will default to srgb. That won't necessarily mean it will be accurate, but it will put it in the ballpark. Using save for web will use the srgb color space.

  • Canon 5D Mark II, Photoshop CS3 and Lightroom 2.4

    All,
    I know that this has to have been answered elsewhere, but I have not found what I'm looking for.
    I have purchased a new Canon 5D Mark II camera which will arrive Wednesday.  As far as software on my Mac Pro, I have Adobe Creative Suite 3 Design Premium, which includes (obviously) Photoshop CS3.  I am also running Lightroom 2.4.  I am under the understanding that in order to open RAW files from the 5D Mark II, you need to have Adobe Camera Raw 5.X, which is not supported by Photoshop CS3.  I also understand that Lightroom 2.4 CAN open the 5D Mark II RAW files.  First off, are both of my statements to this point accurate?  If so, can I use Lightroom to open the RAW files, do whatever adjusting I would like in Lightroom, then export the modified file (in TIFF, for example) to Photoshop CS3, and go on my way?  Or will this not work?
    If the answer is no, what are my options for using the software that I have with my Canon 5D Mark II?  Am I REQUIRED, now, to upgrade to Photoshop CS4?  If so, can I buy the CS4 Upgrade for Design Premium, if my CS3 Design Premium is the Education version?
    Thanks for any help on this...I'm hoping to avoid spending any more money than I need to in software just to be able to process images from my new camera.  I'm sure I could always use the Canon supplied software to open the RAW files, but I'd prefer to do so in the Adobe family of programs.

    cabasner,
    I upgraded to CS4 when I got my 5D2, and I can't stress enough how much better CS4 is. It's worth the upgrade even if you didn't get the 5D2. It's more stable that CS3, and ACR is insanely better (as is the Bridge... that's actually usable now!). ACR in CS4 has Adjustment brushes for Exposure... that's right, touch-up areas in ACR and it's totally non-destructive. Vibrance has been added also. In PS, your Dodge & Burn tools have a totally new algorithm which works so much better it's nuts. You even have a Legacy checkbox to see the difference. With the insane amount of image data in the 5D2, those tools work very well. You also have OpenGL support in CS4 now, which means you can view the image at any percentage and it looks like 25/50/75/100. And since your graphics card is now used, Photoshop CS4 is FASTER. And with the Clone Tool you can see what will be put down on the image inside the tool's circle, BEFORE you press the mouse. Talk about an easy way to line up the edit! Oh, then there's all the Adjustment layers... man, talk about a non-destructive time-saving edit! And the panels now stay off to the side, not covering up the image anymore. There's more, I'm, not even remembering everything. Adobe got PS right with this version. I would spring for CS4 in a New York minute, it's the perfect partner for our 5D2s.

  • IPhoto '08 7.1.5 and Canon 5D Mark II

    Hi -- iPhoto doesn't seem to be able to read the raw CR2 files from my canon 5D mark II ... Do I have to update something in iPhoto? I believe I am already at the latest version. Thanks for your help.

    If you use Photoshop to edit the RAW file then yes, you'll have to save the edit as a new file and import into iPhoto.
    If you use Photoshop to edit the jpg version of the photo that iPhoto creates when it imports a RAW file you will not have to save to the desktop and import as new file. Just follow the directions below in that case:
    Using Photoshop (or Photoshop Elements) as Your Editor of Choice in iPhoto.
    1 - select Photoshop as your editor of choice in iPhoto's General Preference Section's under the "Edit photo:" menu.
    2 - double click on the thumbnail in iPhoto to open it in Photoshop. When you're finished editing click on the Save button. If you immediately get the JPEG Options window make your selection (Baseline standard seems to be the most compatible jpeg format) and click on the OK button. Your done.
    3 - however, if you get the navigation window that indicates that PS wants to save it as a PS formatted file. You'll need to either select JPEG from the menu and save (top image) or click on the desktop in the Navigation window (bottom image) and save it to the desktop for importing as a new photo.
    This method will let iPhoto know that the photo has been editied and will update the thumbnail file to reflect the edit..
    NOTE: With Photoshop Elements 6 the Saving File preferences should be configured: "On First Save: Save Over Current File". Also I suggest the Maximize PSD File Compatabilty be set to Always.
    If you want to use both iPhoto's editing mode and PS without having to go back and forth to the Preference pane, once you've selected PS as your editor of choice, reset the Preferences back to "Open in main window". That will let you either edit in iPhoto (double click on the thumbnail) or in PS (Control-click on the thumbnail and seledt "Edit in external editor" in the Contextual menu). This way you get the best of both worlds
    2 - double click on the thumbnail in iPhoto to open it in Photoshop. When you're finished editing click on the Save button. If you immediately get the JPEG Options window make your selection (Baseline standard seems to be the most compatible jpeg format) and click on the OK button. Your done.
    3 - however, if you get the navigation window that indicates that PS wants to save it as a PS formatted file. You'll need to either select JPEG from the menu and save (top image) or click on the desktop in the Navigation window (bottom image) and save it to the desktop for importing as a new photo.
    This method will let iPhoto know that the photo has been editied and will update the thumbnail file to reflect the edit..
    TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto (iPhoto.Library for iPhoto 5 and earlier) database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.
    I've created an Automator workflow application (requires Tiger or later), iPhoto dB File Backup, that will copy the selected Library6.iPhoto file from your iPhoto Library folder to the Pictures folder, replacing any previous version of it. It's compatible with iPhoto 6 and 7 libraries and Tiger and Leopard. Just put the application in the Dock and click on it whenever you want to backup the dB file. iPhoto does not have to be closed to run the application, just idle. You can download it at Toad's Cellar. Be sure to read the Read Me pdf file.
    Note: There's now an Automator backup application for iPhoto 5 that will work with Tiger or Leopard.

  • Dark pictures with canon 5d mark 3 and 600ex flash, night indoors in Auto Mode and flash on.

    I have purchased a new canon 5d mark 3 and speedlight 600ex-rt flash. While testing it indoor at night , the room lights are on and I was using the Auto Mode with Flash on. The pictures are Dark with the Flash on and when the flash is turned off the pictures are brighter. I am confused. How to get the AUto mode working with the Flash on.

    Automatic mode, it it's attempt to be reasonably foolproof, is going to lock you out of having any control over the exposure.
    The E-TTL metering system on your camera & flash are attempting to find the correct exposure for your subject.  
    Due to laws of physics (the inverse-square law), light has "fall off".  It's not actually possible to use a single light source and expose a large room with that single light.  Either the subject is nicely lit but everything else will probably be too dark.  OR... the background is nicely lit but the subject is heavily over-exposed.  (BTW, there are two ways to get around this.)
    The amount of fall-off is based on the relative distance from the light.  Every time the distance increases by a factor of 1.4 the amount of light is cut in half.  This means if you have subject 10' away, but you have a foreground object only 7' away and a background object 14' away, and the flash is exposed for the subject at 10', then the foreground object will be over-exposed (with twice as much light as needed) and the background will be under-exposed (with half as much libght as needed.)  Incidentally... if you "double" or "halve" the distance then the light difference will be 4x or 1/4 (depending on if you are getting closer or farther.)
    Here's a video which both explains and then later demonstrates the concept in a way that makes it very obvious to see and easy to understand.  If it seems confusing at first... stick with it.  The video is only 12 minutes long.
    In fully automatic mode the camera wont let you control anything (except how far away you stand from your subject). 
    If you switch to "Program" mode, it essentially works like automatic mode EXCEPT it will actually allow you to override settings or set compensations.  
    When you use a flash in a room with some ambient lighting (but otherwise dimly lit) there's a technique called 'dragging the shutter' (which the camera can actually do for you somewhat automatically).
    To do that, set the camera to Tv mode (Tv = Time value... which is shutter priority mode).  Dial in a slow-ish shutter speed... say around 1/60th of a second.  Use a moderately boosted ISO (400 would probably work well... you might even go up higher).  
    The camera is going to evaluate the exposure needed for the room as though you don't have a flash... and it'll set the camera settings accordingly.  However... since it knows you have a flash, it'll still perform the E-TTL II exposure metering and will use the flash anyway.  What you end up with is a shot that has a nicely exposed primary subject (because the camera used flash) AND... a nicely exposed background which was primarily illuminated with ambient light -- but looks pretty good because the camera used an exposure that was adequate for the ambient light.
    The reason I suggest using Tv mode and NOT Av mode is because you can control the mixture of flash vs. ambient light by controlling the TIME that the shutter is open.  But this does NOT work if you control either the aperture or ISO.  
    Here's why:  The flash is "momentary" but the ambient is constant.  If you were to adjust the aperture settings, that will increase or decrease ALL the light sources that contribute to the exposure... so it increases (or decreases) the amount of flash AND the amount of ambient light ... and it does them in the same proportions.  If you want to bright up the background lighting WITHOUT over-exposing your foreground subject, then you don't want to increase both... you only want to increase the amount of ambient light.
    Since the flash is a momentary burst of light, if you leave shutter open longer you wont actually collect any more light from the flash (because the flash was providing illumination for only a tiny fraction of a second.  Extending the amount of time that the shutter remains open means the camera will _only_ collect more of the ambient light... and that helps bring up the dark backgrounds.
    One way to get around the flash fall-off problem is to greatly increase the distance between flash and subject.  You still get "fall off" but now the distance you have to change to notice the fall off really increases.  But this method usually isn't very practical because you'll be standing much farther then you'd prefer to be to get the shot.
    The second way (and much more practical) is to "drag the shutter" (deliberately use longer shutter times so that the camera can collect more ambient light long after the flash is done.).
    Tim Campbell
    5D II, 5D III, 60Da

Maybe you are looking for