Contrast and color patterns in photos

Hi Folks,
I am illustrationg geology diagrams of rocks. I am wondering if there is anyway to select patterns in photographs based upon color and/or contrast patterns? I would like to outline these patterns and create transparency layers based upon color and contrast differences in the photograph.
RC

I would post this question over in the Photoshop forum here http://forums.adobe.com/community/photoshop/general. They should be able to help you.

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Contrast and color saturation way too heavy when viewing the movie in FCP:

When I view the clips on the same Mac they look neutral (outside of FCP). But when I drag them into FCP (6.06) it looks like my film already has been color graded (sort of). Too much saturation and too much contrast (the blacks are pretty solid). When I export the film it looks like it did in the beginning (neutral and low contrast). How may I adjust the preview contrast and saturation in FCP to show it more neutral (or like the clips are suppose to be)?

but why on earth is there no setting to adjust the gamma for the application itself (FCP)?
Because it isn't designed to be used in such a manner. You can't do this with ANY EDITING APP. Not Avid, not FCP, not Premiere, not Vegas, not Media 100. NONE of them do this. They are designed to just show you what you are working with. If you want proper monitoring, you need the proper gear.
And why is there a mismatch of gamma in the first place?
I can only guess. And my guess is so that you can see into the shadows more, in case there is something in the frame that shouldn't be. A person, a light, C-stand...whathaveyou.
Why could they not just have the same gamma for the finder QT and FCP?
Again, I can only guess. I am not a programmer. Because they wanted to make sure that you can see the image on ANY computer monitor, because there are so many different types of computer monitors, settings for those monitors. Look at a computer store and all those monitors...they all look different. But again, that is only a guess.
But would a calibrated monitor like Eizo SX2761 which is mostly for Photoshop working (stills) be good enough in a combo with for example MATROX MXO2 MINI?.
I doubt it. It is a COMPUTER monitor, and balancing for photo work and video work is VERY differnt. If you use the Mini, you need an HDTV at least, and a GOOD one. Or the regular MXO.
Or do I also have to buy a tv / HDTV?
Yes...you'd need a VIDEO monitoring device, like a TV.
And can you please recommend a decent HDTV (
A good PANASONIC model will work.
Shane

Lock in auto levels, contrast, and color?

I was doing some editing earlier and used auto color, auto contrast, and auto levels. The results look great, but they seem to change throughout the footage. is there any way i can "lock" the settings?

Hmmm. i wish there was a way to copy what settings it chose to a normal effect layer. I think it did a pretty good job with the footage, it's too bad I can't see what settings it chose for certain frames and apply them to the entire clip.
I use Looks and Colorista, but sometimes these auto corrections are much quicker and look almost exactly the same as what I create otherwise.

Losing contrast and color when converting Motion JPEG OpenDML to H.264

Hey
I have a Canon IXUS 850 IS which makes "Motion JPEG OpenDML" movies.
The files are kind of big, so I am trying to convert to a better codec.
But when I try converting to H.264 with Quicktime Pro 7 I always loose color intenseness so basically contrast.
Not sure if its a general problem or a settings problem.
I am converting at 2000 kbit/s, key frame automatic and MultiPass
with no restricted profiles.
Anybody have an idea how I could compress this video without loosing so much image quality?
If you want to see what I mean, ceck out the original and the converted video in my .mac public folder in the folder "Motion JPEG OpenDML".
.Mac name tbiegner
Thanks a lot for any help
Thorsten
iMac Core 2 Duo Mac OS X (10.4.9)

Well I seem to have found a solution instead of converting to mp4 I am converting to mov with h.264 codec.
The conversion it a lot better if I select best quality the quality is as good as the original but the file size gets even bigger than the original actuaqlly double the size.
When I select low quality I get about the same size and quality as when I convert to mp4.
In the end what I find strange is, why mp4 makes automatically a "low" quality compression and there is now setting to change the quality.
Really a bit strange but at least I have now found somewhat of a solution.

When I want to change my desktop pattern, I no longer have access to my iPhoto as a choice. I am just given the Apple pictures and colors. I have OS 10.9.4 on a MacBook Pro.

When I want to change my desktop pattern, I no longer have access to my iPhoto as a choice. I am just given the Apple pictures and colors. I have OS 10.9.4 on a MacBook Pro. I could always choose any photo in my iPhoto for my desktop, but no longer. This problem is only about a month old and I can't figure out what to do.

When I want to change my desktop pattern, I no longer have access to my iPhoto as a choice. I am just given the Apple pictures and colors. I have OS 10.9.4 on a MacBook Pro. I could always choose any photo in my iPhoto for my desktop, but no longer. This problem is only about a month old and I can't figure out what to do.

Help! during my photo slide show/some screens are green and/colored-why

This is my first photo slide show in IMOVIE 8, when I go to "play" my slide show, some photo are NOT showing up INSTEAD a "colored" screen comes up. WHY? Not sure what I did wrong.

I to have the same problem. It is very annoying, I name my photos so that they would be in a specific order or grouping.
It appears that a programmer slipped? When I write code to copy files I would sort the list by filename as done in OS versions prior to 4.0.
The order of the photos is now in the order that they were added to the folder which is then sync'd to our pods.
I for one am not willing to remove and rebuild my whole photo library re-adding the photos to the sync'd in the order I wish to see them every time I wish to add more photos.
It is a disappointment, but I have not been online in a couple of weeks and maybe Apple has caught on and put filename sorting back into the code.

My screen went high-contrast. color profiles and calibration didn't help. It looks fine before I log in though!

My screen went high-contrast. color profiles and calibration didn't work well -
HOWEVER-
It looks fine right before I log in!
Is there a way to repair the color profiles or whatev?
I Installed Photoshop Elements and Premiere Elements a couple weeks ago that's when I think it began

I found it! "Enhanced Contrast" was set in the "Universal Access" control panel
Thanks, whoever posted that!

I have photoshop cs6 om a pc. My coumper guy took my old c drive and cloned it to a new oneand installed it. now when I go into bridge it won't let me do any editing. I can't put stars or colors on the photos.

I have photoshop cs6 on a pc. My computer guy took my old c drive and cloned it to a new one and installed it. now when I go into bridge it won't let me do any editing. I can't put stars or colors on the photos.

>I am trying to load my new programs onto this laptop
Actually, no you're not. You're trying to load old programs on this computer - programs that are based around the old (dead?) Mac OS 9, not Mac OS X.
The main problem is that Mac OS X no longer comes with Mac OS 9. If you want to run Mac OS 9 applications you can, but you'll need to source a copy of Mac OS 9 and install that before you can. Off hand I don't know of any sources for Mac OS 9.x. Apple no longer sell it. eBay might be an option.
Either that, or just use Mac OS X applications. You'd probably prefer that anyway.
Finally, as an aside, this doesn't really have anything to do with AppleScript, so posting in the appropriate forum might get you better luck.

I have a color management problem. I have OS X v 10.5, Adobe Photoshop Elements 6, and an Epson Stylus Photo R800. I want to print images I have scanned on a Epson Perfection 1660 Photo and corrected in Photoshop and get the colors accurate.

i have a color management problem. I have OS X v 10.5, Adobe Photoshop Elements 6, and an Epson Stylus Photo R800. I want to print images I have scanned on a Epson Perfection 1660 Photo and corrected in Photoshop and get the colors accurate.

I used the ColorSync utility to verify, and it came back with this report:
/Library/Printers/EPSON/InkjetPrinter/PrintingModule/SPR800_Core.plugin/Contents /Resources/ICCProfiles/SPR800 Standard.icc
   Tag 'dmnd': Tag size is not correct.
/Library/Application Support/Adobe/Color/Profiles/Recommended/CoatedFOGRA27.icc
   Tag 'desc': Tag size is not correct.
/Library/Printers/EPSON/InkjetPrinter/ICCProfiles/Standard.profiles/Contents/Res ources/Epson IJ Printer.icc
   Tag 'dmnd': Tag size is not correct.
/Library/Printers/EPSON/InkjetPrinter/PrintingModule/SPR800_Core.plugin/Contents /Resources/
I did not know what to do next. At the bottom of the window it said to go to www.apple.com/colorsync to find a tutorial. I got a message saying that link does not work. Tried to find the tutorial by searching at apple.com, but could not seem to locate it. Does anyone know what the report above means and what I should do about it?
Also, how to find that tutorial?
Re Using RGB all the way through, When I print from Photoshop Elements, I select Adobe RGB, Photoshop Manages under "Color Handling", Relative Colometric under "Intent" and "ColorSync" i the Epson printer box. Do you mean to do something different in this sequence?

Different look in brightness and contrast in Color as in FCP

Hello,
I've got a problem since the last pro applications update. Since then my clips got a different look in brightness and contrast in color as in FCP.
If I send a clip from FCP to color, it looks more dark with higher contrast. If I send it back to FCP you can see the made changes, but the brightness is higher and contast lower again. And I mean a huge differnce between the both programs.
Before, it was like identical. So, in the moment, it is difficult to make exact changes and the worklow is not so efficent anymore.
Has anyone the same problems or an idea to solve the problem?
THX

Patrick Inhofer wrote:
That tech note specifically discusses how FCP's assumption about RGB files forces it to handle their gamma differently than "YUV" based file formats.
Relevant bit:
Final Cut Pro assumes that QuickTime movies for codecs that support the YUV color space (including DV, DVCPRO 50, and the 8- and 10-bit Uncompressed 4:2:2 codecs) are created with a gamma of 2.2. This is generally true of movies captured from both NTSC and PAL sources. When you eventually output the sequence to video, or render it as a QuickTime movie, the gamma of the output is identical to that of the original, unless you've added color correction filters of your own.
*However, during playback on your computer's monitor, Final Cut Pro automatically lowers the gamma of a sequence playing in the Canvas to 1.8 for display purposes. This is to approximate the way it will look when displayed on a broadcast monitor. This onscreen compensation does not change the actual gamma of the clips in your sequence.*
So what's displayed in the Canvas is an approximation of the "correct" gamma and relies on many assumptions about the media that may not be accurate.

I tried to send an email and attach a photo and color wheel has been spinning forever

I tried to send an email and attach a photo and color wheel has been spinning forever. Clearly it is still trying to send the message and it's been 45 minutes. I can't use my mail anymore.

First off, did you check your internet conection? Your network connection might not be very strong. Try powering your device and turning it on again, see if that works.

HSL Panel cannot control individual colors in the photos. Using the target tool and the colors change in the entire photo.?

HSL Panel. When using the targeted tool I cannot control individual colors in the photo. In Luminance the entire photo is changing not just one area?

Yes, that's the way it works. The target tool is simply a way to pick a colour to modify, but all colours like that one, no matter where they are in the image, will be modified.
Hal

Question about "Native ISO" and Color Grading in PP

I have a question about "Native ISO" in the real world and how it relates to color grading. I was shooting 35mm film before all these digital cameras became flat-out amazing practically overnight. Then the goal was always to shoot with the lowest ISO possible to achieve the least amount of grain (unless you were making an artistic decision to get that look). If I was shooting outside plus had a nice lighting package I'd shoot 5201/50 ASA (Daylight) and 5212/100 ASA (Tungsten) 99 times out of 100.
I've recently been shooting a lot with the Blackmagic 4K and have read that its "Native ISO" is 400. Because of my film background this seems counter-intuitive. Yesterday I was shooting for a client and had the camera at an f16 with a 200 ISO. Because of what I'd read, I was tempted stop down to an f22 and change my ISO to 400... but the "little film voice in my head" just wouldn't let me do it. It kept telling me "Higher ISO means more noise... stay at 200 and you will get a cleaner image".
So how does it work with "Native ISO"? Should I really shoot at a 400 ISO every chance I get in order to capture the best image for how the camera is calibrated? Will it really give me more latitude when color grading? Or would I still get a cleaner image staying at ISO 200? I've Googled around quite, but haven't found any articles that answer specifically this question. Would love to hear from someone who knows a bit more on the subject or has a link that could point me in the right direction.
Thanks much.

Hey, shooter ... yea, interesting discussion and always nice to learn. Great pic, too!
jamesp2 ...
Great answer. I've followed quite a bit of the discussion about the BM cams as well, one does feel a need to check out the possibilities for that next beastie one will need to acquire. But ... which one?
I've always been a bit of a hard-case about testing testing testing. For instance, what happens with dome down or use of a flat diffuser vs. dome in the up position in metering? Back in the film days, we had our own lab and did our own printing as well as the um ... difficult images ... from other studios. I needed to know how to get exactly the same diffuse highlight no matter whether it was a "standard" light 3:1 studio shot, or a near-profile with no fill that needs dark shadows. I tested & burned through boxes of medium-format polaroid & 120 film and a lot of color paper. Finding? To get the same print time no matter the contrast or lighting style, needed to be metered either with the flat disc (Minolta) or dome-down (Sekonic) and held at the highlight-location pointed at the main light source. I could meter and nail the exposure every time. Ahh no, insist so many ... one must have the dome on/up and pointed at the camera! Right. Do that, change the contrast, and see what happens to your diffuse forehead highlight on a densitometer ... and see how your printing exposure times change. Oh, and you've just moved your center-of-exposure up or down on the film's H&D curve, which will also change the way the shadows & highlights print. In truth, though it was subtle, we had realistically no matter latitude for a best-case image with pro neg film as one had with chromes. You could probably get away with being "off" easier, but it still wasn't dead-on.
So wading into video ... oi vey, you may have noticed the things claimed here there & everywhere ... this setting is God's Gift to Humanity but no, it's total crap ... this sensor is totally flawed but someone else is certain it's the finest piece out there. Yes, opinions will be all over ... but ... in film, it was the densitometer. In video, it's the scopes. Truth. And getting to that can be a right pain. I've seen quite a few contradictory comments about using the BM cams in film mode and also at ISO 200. Yours above gives the most ... comforting? ... explanation (for me) because of your reference to your scopes & the waveform patterns. Thank you.
Love to learn ...
Neil

Exporting slide show from iPhoto to QT raises contrast and darkens images?

I have been using iPhoto to create slide shows (with transitions) which I then save as QuickTime (.mov) files. I add soundtracks to the QT.mov file in QuickTime Pro and burn the finished slide show to CD's for my friends and coworkers.
The original photographic image files come from several sources; mostly a digital camera, but often scanned color slides (from the dim, distant past). All of the images have been (painstakingly!) corrected in PhotoShop, and saved as finished size Jpeg files.
When I import the images into iPhoto, edit and arrange them in a folder and preview the show as a slideshow in iPhoto, the images still look perfect.
When I save the show by exporting it to QuickTime, all of the images get darkened and the image contrast increased.
This is making me nuts.
To quantify the unwanted "enhancement" that iPhoto seems to be applying to my images, I experimented in PhotoShop; I can make the original (correct) image match the "QT enhanced" image by decreasing the "Lightness" slider by -8 to -12, and increasing the "Contrast" slider by +11 (in whatever units PhotoShop sliders are calibrated).
The resulting change in the images is infuriating: the darkening increases the color saturation and blocks up the shadow details so that many images are unusable.. black skin tones, for example, become a dark red/brown color with an unnatural gradation from light to dark.
Further experimentation using IDVD and QuickTime slide shows (without transitions) made from sequencial files directly in QT seem to indicate that the problem is not in QuickTime itself, but rather in the transition from iPhoto to QuickTime when I export the finished folder as a slide show.
It seems like iPhoto is "enhancing" or "tweaking" the images as it exports them to QuickTime: It adds contrast and reduces brightness, both of which might serve to add "snappiness" to a lot of generic snapshots that people shoot, but my images have already been fixed (thank you) and really don't need anyone's generic "tweak"
Does anyone know what it's doing, and more importantly to me, how do I turn the damned thing off?
G5 dual 2.3Ghz Mac OS X (10.4.6) Terabytes of disc space.

iPhoto can make two different types of slide show movies. It would help to know which you're making.
One is made via the File/Export to QuickTime movie and makes a 4 track file with a simple fade effect. These use the Photo-JPEG codec.
The other is a 30 fps "video" using H.264 video codec via the "Share" menu.
A third method (rarely used) is to Export to iDVD. This makes an absurdly high data rate MPEG-4 video. This is also found under the Share menu.
The MPEG-4 video codec also includes an "automatic" gamma correction feature which compensates for the gammas difference between Mac's and PC's.
Try one export to iDVD. Include your audio track prior but use a high quality (.aiff) sound file. No need to actually "burn" the DVD. You can even close iDVD after it opens. You'll find the new movie in your Users Movie folder.
Open it with QT Pro and export to a new .mov file. Adjust the data rate to something more reasonable and add some audio compression.
If the colors still look too dark you can use the built in Filters in the Export dialog. You can adjust B&C or HSL or even use ColorSync Profiles that can help correct the image quality (if needed).

How to match colors between 2 photos?

Hi everyone!
I'm faced with a problem here. I made myself a Grey/Color card, having it developped at the local photo store. I know it's not the best solution, but I couldn't get my hand on a 100$ ColorChecker, I'm broke! (20¢ a picture is quite a good deal!)
Here is the default file I used for my photos:
And once I take my picture (Ok, this one is from my laptop screen, but it's only for example purpose) it loks like this
Is there an easy / quick way to have the color match? Is it possible to make an easy color profile, since the colors are pure (W,18% Gray,Bk,C,M,Y) in my default picture? Even if I try to have the white balance on, or try to modify the hue and saturation, the results in the CMY aren't matching. Since we have a color we know the value, it should be easier to fix it, no?
If you could point me in any (free) direction to solve my problem, that would be grand!
Thanks!

DaSniper1977 wrote:
... I'm taking pictures for my GF, who makes jewels. All those beads, pearls and cristals have little tint in them, and being so small, it makes it almost impossible to adjust the color for them to look as good as what I see when taking the picture.
I was thinking (I'm going on a limp, here!) that IF I had a reference picture (see above), in a computer generated format, and the same pattern that I took a picture of, that I could tell LR that, let's say Magenta, is supposed to look like the one I have on my PC. and it would adjust the colors accordingly. Building a ColorProfile on the cheap would maybe best describe what I want to achieve, but only for a batch of pictures, not for the camera. (Once we sell the jewels, I promise to get a real ColorChecker and stop bugging you guys!)
Sorry to be discouraging, but I think your concept is fuzzy and ill conceived.
Basically, your task requires excellent color management. Product photography (where color matters a lot), just can't be done very well at the $0.20/print level. You need skills and equipment for lighting and image capture. Editing should be done using a calibrated monitor, and printing done with a profiled printer. The image you showed reflects a serious lack of of color management.
If you succeed at what I think you are describing, your images would lose the photographic quality of continuous and subtle color gradation. They would more closely resemble posters or cartoons than photographs. Even though a jewel stone may technically be a single uniform color, a good photo reveals the effects of it's surroundings, lighting, and surface effects (reflections, polarization), and shows the stone as multiple colors. Often those colors are similar, but they are never all the same.
In any case if you still want to go down the path of "block" colors, LR is the wrong tool. Try Photoshop, which makes it relatively easy to select a range of similar colors and convert them to a single color.
Jerry

Contrast and color patterns in photos

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