Color Cast Strips in a Scanned Negative

I have scanned negatives that show a couple of subtle color cast stripes. In corrected space these show up as yellow, but in negative space they are only in the blue channel. The stripes seem to be on the negative and not a scanner artifact.
Can photoshop mask for these areas and correct the color ?

Some cross-posting here while I typed up mine (I didn't see Trevor's posts), but I didn't have time to comment further.
Yes, scanned negatives can be a nightmare. I would never attempt to batch that, I just do the most important ones individually and put the rest back in storage. It's just too much work. However:
If you have many negatives taken at the same time that show these color bands, you can use the same adjustment layer(s) on all of them. The adjustment layer can simply be dragged from the layers panel over to the next photo; or you can make a preset. If it's a single roll of film you may not even have to redo the mask.
Another advantage of "painting in" the adjustment is that if you overdo it you can press X and paint back very easily. The example you posted took only a couple of minutes, with two layers - one plus blue to kill the yellow, and then one minus blue for the excess blue on the right.

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Scanned Import severe color cast problems

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also, try Edit> Assign Profile (sRGB, AppleRGB, AdobeRGB, MonitorRGB for starters)
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How to easily spot color cast in aperture

Hi,
I am having difficulties to properly spot/analyze a color cast in my (scanned from color negatives) images. There is no neutral grey or white present and I'd like to get a handle on correcting this color cast without just trial and error (and making things worse)
Any hints or ideas? Pointing me to a resource on the web to find out how?
(Spotting and correcting the color cast in my scanning software (Silverfast Ai) didn'd work as well)
Thanks a bunch,
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Hi Rolf -- you're question is not really answerable. Color is almost entirely subjective -- we color our world in our brains, and then we make machines to mimic this (digicam sensors don't record color -- they record luminance as filtered through known colored gels). Your question presumes an objective standard of color correctness. That does not exist.
Nevertheless, you can at least maximize your ability to get the colors as close to "right" as you can. For that you need a color-calibrated workflow, from input (scanner) to output (whatever). There is much information on this on the Web. For Aperture, you'll want a hardware photospectrometer to calibrate your monitor(s) and whatever paper you print on (if you print). I use a Color Munki Photo, and recommend it or something similar. (X-Rite has recently announced a revamped product line.) X-Rite also makes a calibration tool called a Passport. This has several colors and shades of gray of known hues. In use, you make an exposure of these colored squares, and then use them to set the white balance. You might be able to something similar with a scanner. (I don't use one, and don't know anything about scanner calibration.)
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I have just carefully calibrated (again) my Canon Pro 9000 Mk11 Printer and Asus Pro Art screen using Spyder equipment.
Printing in LR4.4 consistently produces a blue cast. I moved to Elements 11 and using the same just created profile printed the same picture/file.
No color cast.
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'Perceptual' setting used throughout and no 'Print Adjustment' used in LR.
I am using Windows 8 64bit.
Why should LR4 only produce a color cast? The settings have been carefully checked ...

Hello:
I'm not sure of site etiquite, whether I should ask another's advice about a separate problem, but my dilemma is so much like this and I have not been able to fix it on my own nor with Adobe or Epson's tech support.
I too am getting out of my printer only prints that have a blue cast to them. My printer is an Epson r2000. I print from Lightroom 5 and Photoshop CS 6 or now its Creative Cloud equivalent. Yesterday, the i7 laptop I have been using for photo editing (with a better monitor attached) started producing only bluish prints--intended to be black and white (the max whites are white but everything else has a blue cast). It also was apparent in color prints when I tested that alternative. I was not too concerned because yesterday FedEx also delivered a gonzo new desktop computer that I had ordered just for photo editing. I thought, "Well, I'll install all my Adobe stuff there and migrate the Lightroom files and everything will be OK." But, immediately, the blue-cast problem showed up on the new computer. I thought I probably "migrated" the problem when I brought over my catalog, images and settings from the laptop.
I reinstalled the newly installed printer driver and reinstalled the latests ICC files for the papers I use (Ilford Gold Fiber Silk and Gold Fiber Mono), but the problem persisted. I didn't yet know about blowing off the preset files.
I spent a lot of time on the phone with Epson yesterday and chatted at length (1 hour 39 minutes) online with Adobe tech support today. Adobe had me do what you recommended--blow off the preset files and begin again, all to no avail. On my own, I again deleted and reinstalled the printer driver and wiped out the preset files.
Still, I get a bluish overlay on my prints.
After reading your posts, I meticulously checked my settings. Everything seems alright.
I did one other thing. I printed images that had not been imported to lightroom in Windows Photo View through the same 13-inch Epson. They came out perfect.
Now, I just don't know what to do next. Epson and Adobe support have done their apparent best. I live in a small town at the end of the Columbia River where I am looked upon as one of the computer problem solvers (a degree in Literature notwithstanding).
I've thought of blowing off lightroom 5 and going back to version 4, but, as I understand it, that would mean losing all my metadata for some 40,000 images dating back to 1966, most of which I had to plug in by hand since they are from scanned negatives.
Do you have any advice?
I am a little anxious because I am supposed to have prints ready for a show opening on July 27.
Thank you in advance for any advice you may offer.
Paul
Paul Haist
Astoria, Oregon
503-780-3379
[email protected]

Media Encoder adding RBG color casts on BW 16mm Footage

Hey Everyone,
I am really stumped by this one. I am working with FCP6 and Apple Pro Res HQ scans of 16mm B&W footage. I am trying to encode a self-contained .mov file (direct from FCP) in Adobe Media Encoder CC (for Blu-ray) and then burn to Blu-ray with Encore CS6.
I burned the first test Blu-ray last night and when I played it back on my Blu-ray player/TV, I was stunned by the fidelity and definition of the otherwise thick/complicated 16mm grain structure, even via what was only a 6GB .m4v render (compressed from 33.5GB .mov). Everything was perfect...EXCEPT...I got these horrible "color casts" of red, blue, green, magenta, across practically every shot in the footage. Particularly in the last shot of the drain pipe (see example clips 14 seconds long):
Original: https://vimeo.com/97456916 (pass: "original")
Blu-ray: https://vimeo.com/97453674 (pass: "colorcast")
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Considering how long is has taken me to get satisfactory web compression results from 16mm footage in the past, I feel like I just hit a grand slam in the bottom of the 9th with the playback fidelity of the first test Blu-ray. The motion and definition are phenomenal, I mean we are talking Criterion quality--without X.264 or Blu Code--(even with all the modern "overcompensation" crap turned off on my TV). I AM SO SO CLOSE TO RENDERING/BURNING A PERFECT BLU-RAY IF I CAN JUST FIGURE THIS COLOR THING OUT!
Got a deadline to get this into the hands of a couple of prominent filmmakers.
Any help or ideas that anyone can provide will be most appreciated.
Thank so much!
Alec
MAC PRO // OSX 10.7.5 // 2 x 2.66Gmz 6-Core Intel Xeon // 32 GB 1333 MHz DDR3

***SOLUTION***
Well it seems silly that I had to do this at all, but here is the workflow that finally seemed to solve the issue without adding an extra level of encoding...
Save self-contained .mov of my timeline in FCP6 > bring that back in FCP as a separate sequence and apply the "Desaturate" filter (Image Control > Desaturate) to the entire film > save as self-contained .mov again > convert in AME > master and burn to Blu-ray with Encore > Presto!!! NO COLORCASTS on B&W 16mm footage in Encore and no colorcasts from the file on the burned Blu-ray disc.
I believe I stated it above, but in case I didn't, adjusting the chroma and/or "desaturating" via FCP's color corrector plugins did not work...even with the exact same workflow otherwise. I have no idea why, but if anyone ever runs into the same problem, this worked for me. Only took two weeks to do something that I guessed would take a day, maybe two. Geesh.
Thanks again guys for all the suggestions. Really really appreciate it.
-Alec

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I am scanning old family photos. I prefer not to do any post-processing in the scanning software, but I really like how SilverFast AI has an "Auto Color Cast Removal" function.
Is there any way I can match this setting with a preset in Lightroom?
Here's the one that's been auto color corrected:
And here's the original

Google finds lots of answers, such as this one
How to Achieve the Correct White Balance in Lightroom | iHeartFaces.com

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I've been sorting through some underwater photos I took while snorkeling, and the "Auto Levels - Separate" tool does a wonderful job of removing the aquamarine color cast. Unfortunately, it works a bit too well. It would be nice to have a slider that allows for variable removal of color casts, such as the one SilverFast provides for scanning.
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David,
I haven't used Silverfast, but the "Color" tool is
superb. Use the hue or sat sliders along with the
range setting (at bottom of the tool) to really tweak
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Thanks for your suggestion. I've gotten pretty good using the hue/sat sliders to tweak colors, particularly for adding some punch to washed-out skies.
You can think of the tool I'm requesting as a slider that lets you adjust between no adjustment and hitting "Auto Levels—Separate", e.g., pushing that button 1/4 or 1/2 the way down. You can accomplish the same thing by monkeying with levels for each channel or using the color tool as you describe, but a simple slider for removing color casts seems more straightforward.
Cheers,
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HP Color LaserJet Pro MFP M177fw Scanning

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It doesn't scan?!
Below is the text from the first page of the first link one clicks on about this printer. How _on earth_ is one supposed to deduce pre-purchase that it doesn't scan from the main menu? Argh. As an HP employee myself, this is aggravating in the extreme.
Ok, venting aside, this link <http://h10025.www1.hp.com/ewfrf/wc/document?cc=us&lc=en&docname=c03967506#N229> is not offering a solution.
I am running OSX 10.9.1. I am unable to find the Full Driver to donwload in order to connect to this printer in a manner that would enable any of the 3 methods of scanning (Via Preview, Image Capture, etc.) to work. Can you please provide a link to the Full Driver for this MFP M177fw for Mac OSX 10.9? Thanks.
*** Start copied text from online website on HP printer ***
This affordable HP Color LaserJet Pro MFP brings vibrant color printing
in-house, and boosts productivity with Ethernet connectivity. Enable easy
printing at work, home, or on the go with mobile printing features.1
Print speed:4
Black: Up to 17 ppm; Color: Up to 4 ppm
Scan resolution: Up to 1200 x 1200 dpi (hardware); Up to 1200 x 1200 dpi
(optical)
Copy resolution: Black (text): Up to 300 x 300 dpi; Black (graphics): Up to
400 x 600 dpi; Color (text and graphics): Up to 300 x 300 dpi
Display: 3.0" LCD (color graphics)
Standard connectivity: Hi-Speed USB 2.0 port; built-in Fast Ethernet
10/100Base-TX network port; Wireless 802.11b/g/n
Duty cycle:5
Up to 20,000 pages

Scanning Negatives - File Size Error

I receive the error that follows while scanning negatives:
"Failed to obtain files from the device. The files size exceeds the maximum size allowed..."
What is PSE maximum size for scanned images.

Hi Dave,
This is quite strange. There is as such no limit to the size of the scanned image.
To isolate the problem, can you please try this?
1. Scan the negative using Windows Camera and Scanner Wizard.
2. Drag and drop the scanned image onto Organizer.
Do you still get the same error?
Thanks/Tarun

Problem with scanning negative to file

HP Scanjet G2710 and PC with Win7 .
When I try to scan negative to file the program returns extended error info :4,[(2,6,8004005),(3,6,0)].
What does it mean?
What can be done in this situation.
Thank yoou in advance
Gennady01111952

Hello Gennady01111952, and welcome to the HP Forums.
I am sorry, but to get your issue more exposure I would suggest posting it in the commercial forums since this is a commercial product. You can do this at HP Commercial Scanjet Forums.
I hope this helps!
Please click “Accept as Solution " if you feel my post solved your issue, it will help others find the solution.
Click the “Kudos, Thumbs Up" on the right to say “Thanks" for helping!
Jamieson
I work on behalf of HP
"Remember, I'm pulling for you, we're all in this together!" - Red Green.

HP Scanjet G4050 won't scan negatives or or individual pictures Windows 8.1

I have an HP Scanjet G4050 that will not scan negatives or individual pictures. It worked great with my Windows XP.

Hi,
Please try for Windows 8:
HP Scanjet G4050 Photo Scanner
Otherwise, well - use a computer with older Operating system to scan.
Regards.
BH
**Click the KUDOS thumb up on the left to say 'Thanks'**
Make it easier for other people to find solutions by marking a Reply 'Accept as Solution' if it solves your problem.

How to Recover a Dark Picture with a Heavy Color Cast

I just posted this article about how to recover a dark picture with a heavy
color cast using Lab Color mode in Photoshop. I hope it will be helpful to
others.
http://www.braintrove.com/article/58
Greg Collins
Microsoft MVP
Visit Braintrove at http://www.braintrove.com

None taken. I am unfamiliar with ACR and would love to see (compare) what it
could do with the sample PNG file in the article, and how much time it took.
The results I achieved in the article took only a few minutes to
complete--though as I mention below, it took more than a few minutes to get
to the point where I could do it in a few minutes.
I happened across a web site one day discussing the techniques in Margulis'
LAB Color book, which interested me enough to purchase it. I found the book
very enlightening and have seen incredible results using the techniques he
describes as applied to my various images. I've also ready his Professional
Photoshop book which focuses more on CMYK, and found many techniques in
there just as enlightening.
Ultimately the tools and techniques used are irrelevant if you get the
results you want... but if you find one that works faster, easier or better,
then certainly you should employ it.
I have no problem working in RGB, CMYK or LAB and find benefits from each.
The particular sample image I used in the article was one that I've spent
(too much) time cleaning up in various ways and in various color spaces (or
combinations thereof). It became my "poster child" image to work on as I
continue to build my Photoshop skills. The approach I used in the article
was the one I found most to be the fasted with the most effective results.
The original was a 6MP JPG file. I reduced it to the size in the article and
then worked on that size for the remaineder of the article. The resutls are
equivelant in the fullsize file.
Greg Collins
Microsoft MVP
Visit Braintrove at http://www.braintrove.com

PP Program Monitor displays with a color cast

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I am only having this issue on my laptop, all works fine on my desktop PC. Both machines are PC's running vista. I've also tried clearing my preferences and reinstalling PP. No luck.
I'm working in NTSC DV now, but have tried creating projects in HDV and others, and still have the problem.
Also, I've tried resizing the images, changing color spaces, etc, nothings worked. The images now are jpegs.
On another side note, opening the reference monitor causes PP to have an unexpected error and crash. Every time. Although this is not really the issue I am worried about at the moment, it might be relevant?
I've posted a sample of what the preview looks like here: www.jessicamans.com/PremierProCS4Issue/index.html
Thanks in advance for your help!
Jessica

Sounds like an overlay issue. Video card and drivers?

Pinkish Color cast in iphoto 08 ?

Hi everyone,
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Any help would be appreciated.
Frank

Frank:
If you plan on ordering a book or other printed item using the monitor's color profile might not give you what you want. I have calibrated my monitor to the sRGB profile plus a change in gamma for brightness. This has given me excellent color rendition in any book, card or calendar that I've ordered.
You might try printing one also to see if it gets what you expect.
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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. 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.

How to reduce purple color cast in high ISO Nikon D4 and D810 photos

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Dropbox - Example of magenta color cast-001.jpg
If the link works, you'll see what I mean: the dark areas are purple, not black as they should be. This was taken at the dress rehearsal for a play at ISO 3200, about the lowest ISO that I could get away with. The purple cast seems more pronounced along the edges of the photo.
I've read a bit about "amp glow"; is that what I'm seeing here? If it is, what can I do about it? Turning the camera off and on again and again to try to cool the sensor and the nearby electronics isn't much of an option.
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dorffersmatt wrote:
Interestingly, my e-mail says there was another post about how to reduce the purple cast with proper in-camera settings, but now that post seems to have been deleted (by the poster? by somebody at Adobe?)
The poster (Drugstore) may have deleted the post after reading further because it may not have been relevant......just a guess. If you're shooting raw format the in-camera settings such as white balance are not applied to the image file, but they are for JPEGs. The suggestions I provided are applicable to both JPEG and raw image files, but you'll get the best results using raw format.
dorffersmatt wrote:
1) You said that you sometimes see the purple cast with your D4 and D810 if the white balance isn't set properly. What would you consider a proper white balance setting for a situation such as this one? It was the dress rehearsal for a play, with constantly shifting lighting. I just left the white balance on "Auto"; how would you have approached the situation?
Again, this only applies to JPEG format image files. For raw image files the WB EXIF data is read and set accordingly inside LR. For JPEGs the image data has the (incorrect?) WB applied in-camera, which compromises the dynamic range of the JPEG 8-bit/color data. Raw files are 16 bit/color.
dorffersmatt wrote:
2) You said that you also sometimes see it if "you activate the lens correction in LR while in raw mode and exposure is too low." Could you elaborate on that? Do you mean that I shouldn't use "Enable profile corrections" in the "Lens Corrections" panel?
I'm guessing this refers to what you call "amp glow" (amplifier glow). It usually appears as a higher exposure level around the edge of the image and may be confined to one area (top, bottom, sides). By turning off Lens Profile corrections ( "Enable profile corrections") Vignetting correction is not applied, which reduces the exposure level in the corners and frame edges. Some cameras automatically apply distortion and/or vignetting correction in-camera when shooting in JPEG format. Again, this is just another reason why you want to use raw format to get the best results inside LR.

Color Cast Strips in a Scanned Negative

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