Color Profiles in LR compared to PS CS2

I have my monitor calibrated with a Spyder2pro and my prints match exactly what I see on the screen in PS but nothing close to what I see in LR? I can only find three color profiles in LR (1998, Srgb, prophoto)? what's the use of editing photos in LR if I have to send them to PS to re-edit with the correct color profile? Can someone please tell me what I'm doing wrong....Your help would be much appreciated!!!
Thanks......mitch

I'm not using 'export', maybe I should give that a try but I'm guess I will have to figure out what Sams Club will want as a profile? I just save the file in photoshop as a JPG and then upload it to Sams. What would be your suggested export or saving method? Thanks for the help....mitch

Similar Messages

Picture color profile in Lightroom vs Photoshop CS2 editing

Hi all, I hope someone can solve this for me.
When I'm viewing picture in Light room, all my pictures are a bit warmer ( have a yellowish tint to them ) compared to when I view them in Photoshop CS2. The same is true if I view them in other programs. This is true for all my picture file type (jpg, tif or raw). I get the feeling that it's Light room that in the wrong in how it displays the picture and not the other programs. Using the warms tool to make the picture a bit colder, only adds a bluish tint to the image which isn't even close to what it looks like (unedited) in Photoshop.
I get the feeling that Lightroom does something to the picture, or uses some sort of color profile, driver that other programs don't use.
Is there a way of changing this?

>When I purchase these ADOBE products I expect them to JUST WORK!!!!!
Unfortunately, when Microsoft, Dell and others enter the fray it's no longer up to just the Adobe folks. Differences between Photoshop and Lightroom are almost always due to a corrupt monitor profile. Adobe has nothing to do with that.
>I dont wanna have to be worried about corrupt profiles yada yada yada!!!
I just want to be able to do my color correction and exposure corrections in Lightroom export as a High Res Jpeg and then do the remainder of my work in Photoshop and have them both look the same.
If your screen is correctly calibrated that will be the case. Unfortunately if you want to do color sensitive work on a computer with a typical monitor, you have to have a rudimentary understanding of profiles and color management. There is unfortunately no way around it. This is no different from traditional color photography where you have to understand what different film, different filters and different development do to your colors. The terminology is just different.
>How do I fix this and please go through it STEP BY STEP BY STEP!!!!
I am not one for the computer lingo....
OK. I'll assume first that you have no hardware calibrator and that you are on windows:
1. Make sure your Photoshop color settings are set up to respect embedded profiles. See the
first screenshot in this post(ignore everything else as it is no longer relevant in LR 2).
2. Open your monitor's properties panel, click on advanced and go to the color management tab. Delete any profile you see there. This is the culprit. Probably a bad profile got installed in some driver update for your graphics card or your monitor.
3. Restart Lightroom and Photoshop and that's it! You'll have corresponding colors. You are however, cheating yourself as your monitor is completely uncalibrated. This is how 99% of computer users run their monitors.
So here is what you should be doing if you care about your color and matching to print and making sure that others see the same colors. Even though hardly anybody calibrates, the only way to get a good average correspondence is to calibrate your monitor and use color managed apps. This sequence is valid for both macs and PCs
1. Do as above step one and make sure Photoshop is set up correctly and then go out and buy a hardware calibrator (or order online). They can be had for <$100 for pretty good ones. Look for example for Spyder2 and Huey Pro.
2. Calibrate your screen following the instructions from the software
3. Restart Lightroom and Photoshop. Now you'll have identical but correct color.
If you have a mac, you can cheat slightly and use http://www.computer-darkroom.com/colorsync-display/colorsync_1.htm instead of hardware calibration. You cannot expect very good correspondence between monitor and prints though with that method.

Iphoto and color profiles

I know this is a tricky topic, but I'm trying to nail it down.
The colors of the prints from iPhoto on my Canon Pixma iP4000 inkjet do not match what I see on my ibook G4 LCD monitor on my ibook. I do most of my editing within iPhoto (although some in Elements). What color profile do you suggest I use with the display--I've tried Color LCD and sRGB (both types) but the colors are still off from the printed output.
The photos generally have sRGBIEC61996-2.1 embedded in them. The output is better with Colorsync on than off, but I still get a yellowish cast on my printed output. I know I could adjust picture by picture, but I need a more comprehensive solution. I'm also not sure anymore how files sent to photo processors and Apple books will turn out compared to my display.
Many thanks for any advice you could give. BTW is there any way to find the kind of embedded profiles in a picture from within iPhoto 6, as well as its current (edited) resolution and size?
Jack Shalom

dhollister:
You probably know more about it that I but in iPhoto's Advanced preferences section there's a checkbox to Add ColorSync Profile (upon import). I've not gotten a good handle on it but you can experiment with some files with that option turned on and off to see if it will correct your problem.
Just ran a test with an image file right out of my Canon camera with the Camera RGB profile. I imported that file with and without that check box selected and didn't see any diffference. Checked the EXIF fields with another application, iView MediaPro, and both reported just "RGB". The user may have to add the particular profile to the file before importing to the the profile they want. I added with iView MediaPro the sRGB and the sRGB IEC6 1966-2.1 profiles and saw little difference when comparing them on screen. I then added the Adobe RGB 1968 profile and then saw a more saturated color in the image. All comparisons were made in iPhoto in the full screen mode.
I know Apple uses the sRGB profile for it's printing, books, etc. so have set up my Photoshop CS2 preferences to use that profile. I've also set my monitor to use the sRGB profile. The books I've ordered have been good color wise so I guess it's working for me.
Hope this information has been of some help.
Do you Twango?

Converting RGB to DNG without affecting color profiles

Hi guys
I'm working with the DNG SDK in C++ for some time now. I need to be able to take a raw RGB (not camera raw) and convert it into a dng file. After playing arond with it for a few days, I realized creating the camera profile drastically affects the resulting dng image.
I can't seem to produce a dng file that was identical to the input source. My picture appears very washed out and I end up using the adobe color profiler to try to bring the image back close to it's original color.
I'm trying to find a way to produce dng files without the need to affect the colors in any way, the resulting picture should be bit identical to that of the raw RGB input file.
I'm not even sure if I can do this considering the usage of the dng format.
UPDATE
I've realized that my program is loading the RGB buffer into the fData of the stage3 image object. I have a feeling I need stages1 and 2 but i'm unsure if I need to and if so, then i will probaby need a source DNG to produce those stage1 and stage2 unless I can get stage1 or 2 from stage 3 (appears it works vice versa).
I'm able to do the reverse (DNG to RGB raw) by extracting the buffer from the stage3 render. but in this case, all the metadata has been filled in by the input DNG. However, going from RGB to DNG, I don't have the metadata to fill into stage 1 and 2.

My understanding of the JPG is only middling. I thought I understood that it uses anchor pixels and either a translation table of some sort or difference mapping, using 8 bits per piece of information.
If that were the case, surely changing the translation from CMYK to RGB would be fairly simple.
In this case, the usage is Ebay and they only accept JPG, PNG (and maybe BMP and GIF, I didn't look that closely), but require RGB. I was actually quite surprised to find that JPG allows CMYK since, as you say, anyone dealing with CMYK is going to be dealing with commercial printing and few people who deal with commercial printing would play around with JPG.
I always stick to TIFF or PSD for workflow, but JPG is popular for a reason - when it comes to web, JPG is the only format that can deliver manageable file sizes with full-screen or "large" images for web. Our top level banner photo is 2590x692 and needs to be under 400kb for sane download speeds. PNG couldn't touch that. Even with the aforementioned 1800x1200, PNG is nearly 2mb, while I can maintain very decent quality with a 500kb file with JPG that works well for 'zoom in' type usage.
So there's no way around JPG. It's just annoying that the first person to touch a random selection of the pics was primarily an Illustrator user and saved *some* of the pics in CMYK mode.
It's like that old story about the farmer who didn't want anyone to steal his watermelons, so he cleverly posted a sign "None of these watermelons are poisoned", only to find a note the next day saying "Now, One of these watermelons is...".
Far more work to fix 'some' of the images compared to just doing it right the first time.
But then again, for workers like that, if you can't trust them with an easy job, you could hardly trust them with more complicated jobs...

Exported Raw Conversion Image Resolution and Assigning a Color Profile, etc

In Aperture 1.1, although I set the exported Raw conversion image resolution to 300 dpi in the preferences, it continues to come out at 72 dpi which is something of an inconvenience. Also, is it possible to assign a color profile to the "exported version" so that it is congruent to my PS CS2 color workspace (if that is what its called). Is this program capable of carrying out a conversion as a background operation? Finally, can the layout windows be configured so that they remember how they have been used in the past? Thanks.

Iatrogenic huh! Cool!
Anyway, I'm not real clear on what it is you are trying to accomplish. Despite your obvious vocabulary skills, there seems to be some disconnect relative to what you are trying to accomplish. You are right that "exporting a version" in Aperture is roughly equivalent to what happens in ACR when you "Open" a RAW image into Photoshop. In both cases you have, hopefully, already done the adjusting of parameters you want prior to "exporting", or "opening". When you "open" or "export" you wind up with an "image" composed of pixels, whereas in the RAW adjustment phase you are just working with a temporary thumbnail and a set of mathematical instructions. Big difference, I suppose is that when you "open" and image from ACR into CS2, the resulting image is truly just pixels and has not had a "file type" applied to the file yet, until you "save" it, while in Aperture, if you "export" a file to CS2, or to the desktop, you end up with the file type already applied. Presuming you "export" a 16 bit TIFF or PSD, there is no operational difference.
I could be wrong, but with the new Bayer Demosaicing algorithms in Aperture 1.1, and the Camera RAW adjustments, you should be able to come up with an adjusted image that is VERY close if not identical to one done in ACR, with the possible exception of lens abberation adjustment. I was very critical of the RAW adjustments in 1.0.1, but I am very happy with the capabilites in 1.1. That said, I think there is still some room for improvement in user friendliness of some of the adjustments such as Levels.

Display Calibration Creates Color Profile Problems.

I haven't received any response out of the MBP Display forum and I thought you guys might have better insight anyway because you are dealing with color calibration more often. Here it is:
I used colorsync utility to calibrate my monitor, hoping it would at least get the colors more accurate than they are with the "Color LCD" profile. The Color LCD profile has a bad yellow tinge to it. I went through the process 4 times so I would be able to choose the best profile out of the 4. (Now I can't delete the extra profiles but I guess that is a different topic...) The color accuracy and the gray-tone is MUCH better BUT I have a slight (understatement) saturation problem.
My problem is after using Color Sync, ALL of my REDS are oversaturated and blown out. There is a problem with the blues and greens as well but it isn't as bad. Of course, they look fine in non color managed applications (ie FireFox) but everything else makes my photos look horrible. Even the RAW files straight out of the camera look blown out.
I had, at first edited these files on a PC so they always looked fine but now that I have switched to Mac I have noticed how oversaturated they are in all of its color managed applications. (Safari, preview, and even the desktop.) I thought perhaps that I had just pumped up the contrast and saturation too high on the PC and the color profile was now creating a problem because the color was set for an un-profiled file. BUT after viewing the unaltered .NEF's straight out of my camera, they too are oversaturated.
Now, I have some wallpapers I had downloaded from the web that look the same as before. It is just MY OWN photographs that are oversaturated. Obviously I have chosen the wrong color profile or something is wrong with my workflow. The wallpaper that looks the same doesn't have a profile assigned it when I view-info. It just labels the color space as RGB. All my photos that have problems, have a color profile assigned. I am using sRGB as recommended. There are a few still using Adobe RGB (which is what my camera defaults to) and they have the same oversaturation problem.
Aperture is set to export with an sRGB profile and CS2 uses sRGB as well.
Any advice? What monitor and color management profile's are you guys using?
I can't tell what is right anymore. What should I edit my photos to look good in? The only MONITOR profile that doesn't blow them out is Adobe/Apple RGB, Color LCD, and a few of the other default installed profiles.
I've got a bad case of color vertigo!

sorry uberfoto, did not get what MBP meant at first.
what Jan says about color calibration tool is right....and start again from the RAW.....
i am photographer in the advertisement, reportage, portraits and landscape.
my problem was to get the thinks printed as I saw them on the screen.
here what I have to say on that (part of another discussion):
".... Sorry, but no AppleTFT Display comes close to a hardware calibrated display. Maybe they are semi-professional. I do not say this to insult Apple, ore somebody else, but i say this to sway out the illusion of , " if I just spend more money on the calibration tool and software, I´ll have better prints". It´s just not possible, because the display cant show what is there. A Apple CRT Studio Display is far better in this. I you want to have a flat-screen TFT Display to bring good results, you have to choose one that is able to be hardware calibrated and has a higher lookup table (EIZO, LaCie, QuatoGrafics......)
I use use one professional EIZO CG21" and one semi-prof. EIZO FlexScanL985EX(21") and the diffrence is important between the two.
But i need only one to be Print Proof ready.
Before i was always afraid when i gave the picture file to my client, because of what my pictures look like once it is printed. Now the outcome is right or differs only very little from what I saw on the screen. my calibration tool is EYE ONE. "..
BUT your main problem is how it looks in the web.
my thoughts and suggestion on this:
1. most people see the web on PC Display. those use a gamma of 2.2
(apple = 1.8) so pictures appear more blue with more contrast. this setting is made to hide the low ability of the system and display to show colors as they are and give and give crispy impression. So you will have to consider this when you prepare the pictures for the web. therefor the standard calibration of your MBP is best for your needs. ( for printing the Display has to be set on 5.600 kelvin ,that would be to warm 4 the wwweb).
2.
a) In the beginning I use Aperture 1.5 (or Lightroom) to select and prepare the pictures as I like them.
b) then I export them in 8 bit/300 dpi in the size they will be used as PSD or TIFF.
c) I will then open them in Photoshop (color-settings=web /internet) make the cleaning and so on.( 4 the web I always increase the saturation because sRGB and JPG will throw away lots of colors).
d) AND NOW "save for the web ". This is definitely the best tool to prepare pictures for the web. on the right upper part of the window there is a flash-open menu where you may choose to see the colors like in windows or macintosh system.
and on the lower right of the application-window there is a roll-down menu where you may preview the results in different browsers of your choice.
It is here where you can produce amazing high Q pictures 4 the web under 100 kb.
Hope this may help.
good luck,
larry
G5 dual 2.3/4,5 gigRam/ATI 9600 128MB-PB G4 12" Mac OS X (10.4.2) EIZO CG 21"+EIZO L985ex 21"
G5 dual 2.3/4,5 gigRam/ATI 9600 128MB-PB G4 12" Mac OS X (10.4.2) EIZO CG 21"+EIZO L985ex 21"
G5 dual 2.3/4,5 gigRam/ATI 9600 128MB-PB G4 12" Mac OS X (10.4.2) EIZO CG 21"+EIZO L985ex 21"

Macbook Color Profile Question

I just bought a Macbook from my cousin yesterday. It's in great shape and not very old, which is why I bought it. It's amazing how addictive it is, I've been PC person forever.
I immediately brought it home and installed all my programs, set a desktop photo, and opened photoshop. The coloring on my photos is off. I've tried using Supercal, and calibrating using the tool in the profiles, but I can't figure this out for anything. Being new to MAC, I'm just confused---
I use Firefox for my browser. The colors are perfect in it. When I change my profile and get it to somewhat make my photos look right (or like they did in my PC. All the photos seem to have like an orangey-yellowish look to them, not majorly, but editing photos isn't going to work with it like that.), then I open Firefox and my coloring is completely off on websites.
Does anyone have any suggestions? I would greatly appreciate it.
Thanks in advance!

in short, photos can contain their own ICC (color profile). And this effects how color look on a per photo basis. instead of modifying your display color profile you need to a just or change just color profile of the photo(s) to have them render properly.
One way to tell what color profile need to be altered is to get info on that photo. you can do this in the finder, preview, photoshop. you can also use these applications to change witch ICC is used on a photo.
these apps use ICC color profiles : safari, quick time, preview, finder, quick look, photoshop
firefox dose not use the ICC color profiles attached to photos, but you can tell it to in firefox preferences. when ICC color profiles is off in firefox it's going to use the default color calibration in system preferences display
this website dose a great, but confusing job of comparing different ICC profiles. http://www.gballard.net/psd/golive_pageprofile/embeddedJPEGprofiles.html
if you want to become an expert in color management you may want to check out: http://support.apple.com/kb/HT3712 . it also talks about how you can use preview to change what ICC is used with a photo.
Message was edited by: Sherman Campbell

Color profile and 16 bit printing

I read a post that said sRBG was the best color profile for ibook. It is also the smallest gamut compared to Adobe 1998 or ProRGB. Is it really "the best" one to use? Also, can iBook printing support 16 bit files? If the answers are yes to sRGB and no to 16 bit, does anyone have a suggestion for someplace else to have only one book printed? Thank you.

I read a post that said sRBG was the best color profile for ibook. It is also the smallest gamut compared to Adobe 1998 or ProRGB. Is it really "the best" one to use?
Yes - that is the reason that it is recommended - user experience with Adobe RGB for example has been unsatisfactory
And note that iPhoto is a consumer product and the books are designed for consumers - I find them outstanding as do most users. Only you can choose what pleases you.
for more info on preparing your photo see - http://www.apple.com/support/photoservices/preparation_tips/
Generally you will find that doing less editing and doing it in iPhoto will produce the best (yes - best does mean best once again) results
Also, can iBook printing support 16 bit files?
No idea
If the answers are yes to sRGB and no to 16 bit, does anyone have a suggestion for someplace else to have only one book printed? Thank you.
Google is a wonderful resource for things like this
LN

DNG files rendered with wrong color profile?

Does someone else also have a problem with DNG (digital negative) files showing incorrect colors when opened in Apple software (Preview, iPhoto, Aperture..)?
I have a Nikon D750 and currently consider using DNG as archive format for my RAW files.
But the converted DNG files are shown with a wrong color profile when opened via Apple's own camera raw framework...
It works in Adobe software - such as Lightroom - but any software using the OS X internal camera raw framework seems to use the wrong color profile when opening the DNG. Note that the original D750 NEF files are opened and rendered correctly.
I am using OS X Yosemite 10.10.2 with the latest Camera Raw Compatibility Update 6.02 installed.
On the Adobe side, it is Lightroom 5.7 and DNG Converter 8.7.1.
I tried all kinds of different conversion settings. It does not seem to make a difference whether I embed preview images in the DNG or not, whether I shoot in 12 or 14bit RAW, and whether I include the original RAW file into the DNG or not. I also tried to explicitly select the 'Camera Standard' color profile in Lightroom first and then export the DNG, but still on the OS X side the resulting image looks wrong as compared to the original NEF.
Any other Nikon user here who could verify my problems?

A few simple tests on your end may help you better understand:
1. Capture the same image (same camera settings in RAW and JPEG)
2. Open these images in Canon DPP - they will be a close match, this is because Canon DPP and the Canon camera itself use similar RAW processing algorithms
3. Open convert the CR2 to DNG, and open the CR2, DNG, and JPEG in Adobe Camera RAW - the CR2 and DNG should be a very close (if not identical) match if you use the same processing settings for each, since they are both being processed by ACR's algorithms; the JPEG will probably not match as it was processed with Canon's algorithms
What you are seeing is at the HEART of raw processing, and has nothing to do with color spaces or with DNG being at fault. The very nature of RAW processing means every processor (DPP, ACR, CaptureOne, etc) will produce different results by default - that's not to say that with some adjustments you can't match one processor's results to another, but it won't be the case by default.
The choice of RAW processor has FAR more an impact on your results than color space - in fact color space should have virtually no visual impact, though depending on the scene photographed you might have better gradations in some color spaces, better handling of highly saturated colors in some, but the overall look should remain close regardless of color space choice.
Further, as has been pointed out by others, raw files (which includes CR2 and DNG) do not have a color space - raw files are by definition raw image data which has yet to be processed into a color space. When you see color space assignments in RAW processors, that is relevant to the files you create FROM the raw files, not relevant to the raws themselves.
Before bringing inflammatory language and false assumptions to a forum with a high level of expert membership you might want to research the issue, and devise some simple tests (like above) to help you understand the issue first.

ColorChecker Passport-Color Profiles

Hi there,
I am photographing paintings with Elinchrom flashes with an even light and I use the ColorChecker Passport from X-Rite to keep a reference in order to match the colors.
Till now, I've been using the software DNG profile manager, provided with the ColorChecker Passport from X-Rite, which creates a camera profile that should be helpfull to get the right color. Once I've applied the new camera profile (after restarting lightroom), I do the white balance. It's recommended on the X-Rite tutorial to use the target number 20 called "neutral 8" to do the white balance. I've also tried the target 22 called "neutral 5", and it seems to get slightly better results.
I've noticed that even creating a color profile and doing the white balance the colors don't match. I am using a mac laptop screen that I calibrate quite often, which is not very helpful for obvious reasons, but that helps to keep track of the general look of the image, so that's why I keep the color adjustment to the RGB numbers.
I've downloaded the following PDF; here there is some information about the RGB values of various ColorChekers:
http://www.google.com/url?sa=t&source=web&cd=2&ved=0CB4QFjAB&url=http%3A%2F%2Fwww.babelcol or.com%2Fdownload%2FRGB%2520Coordinates%2520of%2520the%2520Macbeth%2520ColorChecker.pdf&rc t=j&q=ColorChecker%20rgb%20values&ei=wOCdTbG7NIyDhQelj5G8BA&usg=AFQjCNGj3wUpWC_uMxgMCeR3GI yN7kDU0A&sig2=mPf1grSAULxyMs_SanYVNw&cad=rja
Using these values and a selective color layer in photoshop I get close to the real colors, although it is not good enough.
My questions are:
1-Does anybody know the ColorChecker Passport RGB (Adobe 98) values?
2-I've tried to use the DNG profile editor because it seems a precise tool for this, but it doesn't recognise the 5D Mark II files. Is it because this application hasn't been updated? It also seems to work only with 6500K or 2850K, which is not the case of the Elincrhom 600 monoblocks I am using (which I think are around 5000K.
3-Could anybody recommend a workflow that's better to match the colors?
I have more questions, but I think these three are a good start.
Thanks!

Here are color-error analysis plots for several camera calibrations using the fine-art color-checker calibration shot uploaded, earlier.
The three profiles tested were:
1) A custom Elinchrom Flash profile I created from the color-checker using the DNG Profile Editor,
2) The Adobe Standard camera profile,
3) The custom profile provided by Gustov.
My general comment would be that the Adobe Standard profile has about the same error as the custom profile I computed using the DNG Profile Editor but the Adobe profile has a more even distribution of the color error.
The profile Gustov provided seems to be very close in the yellow area, but quite far off in the reds, blues, and violets. This can also be seen as a severe shift toward the green of the WB Tint slider value when the profile is selected for the As Shot WB as compared to the almost zero value when using the Adobe Standard profile.
These color-error plots were created using the ColorCheck module of Imatest Studio 3.7 from www.imatest.com. The program compares the measured color values from a color-checker image to the standard color numbers of the Color Checker then plots the difference on a CIE chromicity diagram, where the squares are the standard color position, the circles are the measured color position, and length of line in between is the color-error. In general, error in-and-out from the center is saturation error, while error around the center is hue error. In a 3D plot luminance error is also shown but harder to visualize without a way to rotate the plot around. Imatest provides this visualization in its Multicharts module.
I used the ProPhotoRGB colorspace when saving the TIF out of ACR because the standard ProPhotoRGB color-checker numbers in Imatest are for D50 lighting whereas the AdobeRGB standard numbers are for D65 lighting. As the image-filenames suggest, I used a linear toning curve and a black-point of 0 when saving out of ACR, but left the brightness at 50 and the contrast at 25. I tried zeroing out the brightness and contrast or using the Medium Contrast toning curve but things were way off. Using a blackpoint of 0 instead of the default of 5 also made things slightly better. There are scripts that can compute the optimal toning values for the gray patches but I was only comparing profiles, not trying to optimize them completely.

LR2.2: Color Profiles NOT 5D Mark II compatible

in Lightroom 2.2, Is anyone else noticing 5D Mark II RAW files do not render accurately with the color profiles? (adobe standard, camera standard) The reds are very-very orange again.
I have a 1D Mark III, and a 5D Mark II.
The new profiles work very well with the 1D Mark III, almost matching what I see in DPP.
With the 5D Mark II, all the colors are off.
When compared with DPP, The 5D Mark II colors seem as bad as other canon cameras before the beta profiles. Reds seem orange again, etc... Although some profiles seem more accurate (like "faithful").
So Adobe... are you seeing this issue? Would it be possible to get a confirmation? I'll happily provide RAW files, with jpg conversions out of LR and DPP
thanks!
-Josh
(PS. I'm a software programmer turned professional photographer, so I'd make a good beta tester! hint...hint...)
Josh Reiss
www.joshreiss.com

>How can you tell if Highlight tone priority was on during the shot?
You should be able to tell in DPP. I don't use DPP but I am sure it has a display of all the settings you used in your camera.
>And if Highlight Tone priority keeps lightroom from accurately rendering color, wouldn't that be a lightroom issue?
No, it is a Canon proprietary tag and Canon-proprietary technology so Adobe cannot implement it precisely. Only DPP can read and implement these settings in its RAW conversion. Nobody else can without either licensing the technology or doing some major reverse engineering (which likely will end up with you being sued by Canon). It is basically the same as underexposing the image a little and pulling it back up with a curve adjustment with a smooth rolloff at the high end.

CMYK color profiles for China

I am using CS2 Indesign and Photoshop 7 on a PC. I have to prepare color
photos for a printer located in China. They want all images to be CMYK
.tiff.
I now have an assortment of about 100 images from various sources around the
world, there are .tif, .jpg. .bmp, and .psd. All of them appear to be RGB.
There are images with: 1) no color profile, 2) sRGB IE60966-2.1, and Adobe
RGB 1998.
I have been converting these to .tif (and using one dpi/pixel resolution for
all images).
Do I just select/save as color mode CMYK? Or are there special
settings/profiles I need to know about for China? My Chinese language
skills are way, way far worse than the printer's English skills. I was
hoping that someone in this group would be familiar with RGB to CMYK for
foreign printers.
Thanks

Sorry for the confusion -- I meant "one" not in the number one -- but I mean
that I am using the same resolution for all images. "One" in this case was
to mean: "singular."
I was wondering if there was a commonly accepted CYMK color profile that is
preferred by book printers in China.

Olympus OM-D EM-5 color profiles

I guess that people at Adobe are super busy with working on compatibility with the never ending stream of new cameras.
Since the OM-D is so popular however, I would like to know why it didn't get a set of camera specific color profiles - just the Adobe Standard profile. At least a set of the basic ones (Vivid, Neutral, Muted, Portrait) would be great.
The EM-5 has a highly praised color rendition, especially for skin tones and I am sure many users would love to get these colors in Lightroom.
Is there any chance this could be added in?

richardplondon wrote:
That is interesting, and I fully understand your points. My comments were aimed at the rather common focus that some people seem to have, of exactly matching the camera JPG. The important point for me, is: can we get the picture that we want, from the Raw - and whether that is the same, or different, compared to a JPG may be completely secondary.
I am coming to this from the viewpoint of a Pentax owner - where the in-camera JPG treatment is something that divides opinion, rather than getting general approval as with your camera. People talk about the "Pentax greens", and these do seem to get intensified in a way that some people love (and that is hard to simulate using for example Adobe Standard) but that I personally dislike. Adobe Standard gives a much better starting point for me with the K-5, and also with other cameras, so I have consistently tried to make that work.
It is also worth making the point that these profiles are (naturally enough) implemented with different amounts of success and consistency on different cameras, even where they are targeting the same output and appearing under the same name. So "Adobe Standard" may be liked for one model's Raw, and disliked for another model's Raw, by the same person. These are in reality quite independent of each other. Also some Adobe-supplied profiles have been systematically "off" at first, but later improved in product updates (e.g. the Nikon D7000, as I understand it).
What I have done, and it took only a couple of minutes, is to extract embedded profiles using the DNG Profile Editor - out of DNGs taken with the Pentax camera set to Neutral, Portrait, Vibrant or whatever - and then to save these named suitably, into my profiles list in LR. So they are now available if I want them - even though Adobe may never provide these AFAIK.
I agree that to manually tweak colours "by eye" within the DNG profile editor, is going to be quite difficult and unpredictable. On the other hand, we have camera calibration sliders inside LR also. These can be used and developed more interactively, right inside LR, to our satisfaction, and then included into our Develop default - or else into one or more develop presets. Perhaps if you can isolate out what exactly is going on with the skin tones, you can make use of such adjustments on top of a profile that you already have. These will then become live parameters of each image, allowing variation as desired - rather than needing to always conform to the setup of one centrally stored profile.
regards, RP
How did you extract the profiles from the DNG files? That is exactly what I want to do. Are there any pointers on how to do this? I'm somewhat familar with DNG profile editor but I don't see how to do this.

Lightroom color profile for Sony NEX 5N?

Hi all. I'm trying out LR4 at the moment, and I noticed that the only available color profile (Adobe Standard) is way off for my NEX 5N. Colors look really flat and greenish compared to in-camera jpgs and RAWs edited with iPhoto or Aperture. I found this profile http://www.piraccini.net/...2011/11/sony-nex-5n-new-standard-adobe-color.html, which is a lot better but still not really what I would like to see.
So the question for any NEX 5N users is, what color profile are you using in Lightroom? Thanks.

Digging up an old thread here, but I'm having a similar issue. I too only see "Adobe Standard" along with other "Camera Landscape, Portrait, Standard, Vivid". If I browse to the C:\ProgramData\Adobe\CameraRaw\CameraProfiles\ There was previously no folder or files related to my Sony NEX 5N within any of the subfolders, except for the "Sony NEX-5N Adobe Standard.dcp" file. I've since found what I assume are supporting .dcp files for my Sony camera under C:\Program Files\Adobe\Adobe Photoshop Lightroom 4.3\Resources\CameraProfiles\Camera\Sony NEX-5N and tried to copy that folder, which includes 4 profiles, and paste it within the C:\ProgramData\Adobe\CameraRaw\CameraProfiles\ directory.
Here is what's happening: No new profiles show up. I'm at a loss about how to install new profiles if I needed to. I've even tried downloading the OP's recomended profile from the piraccini.net site, but I'm at a loss with how to install those. No matter where I paste the different profiles (folder that contains .dcp files) they just don't show up within Lightroom 4.3. I'm at the end of my rope here, as I've tried everything that I know.
Any help would be much appreciated.

Embed ColorSync profile, how to get back to original color profile?

I am a bit shocked , experienced today that iPhoto by default embed ColorSync profile (found under general- advanced settings for iPhoto) to every photo imported.
I always believed (and trusted) iphoto did not change the original file from the memory card. I have compared today the file from the memory card and the one found under originals in iPhoto library and see now that iphoto darken the shadows area a bit, in my eyes not a good thing.
So my question is , is the process done by iPhoto reversible? Can I get back the original profile (sRGB I believe) for my photos?

iPhoto by default embed ColorSync profile (found under general- advanced settings for iPhoto) to every photo imported.
Well let's get past the shock for you. It doesn't.
If the photo has a pre-existing color profile then the file is not touched. iPhoto uses the one already embedded. It only adds a profile if 1: there is none present and 2. If you check the box.
The profile attached is virtually indistinguishable from sRGB, just adapted slightly for Apple monitors.
Search the Help for ColorSync. This explains it quite clearly.
Regards
TD

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