DNG profiles, Calibration tab and HLS

X-Rite and Adobe have provisions for creating custom DNG profiles. DataColor just announced a product that appears to operate like these two but instead of making DNG profiles (or as we had in the old days, altering the Calibration Tab), updates the HSL controls. My understanding is that DNG profiles and the Calibration tab operate in a different order of the processing, prior to all the sliders above them. My understanding is there are benefits for doing this but I’d like to know more about this. The question is, what are the practical implications of “calibrating” via a target that affects HSL sliders instead of producing a DNG profile, or at the very least, altering the calibration sliders? Eric you out there bud?

Andrew,
Eric is very active in the ACR forum, including in the last 24 hours, and there's no way he'd be ignoring you if he had read this post of yours.
My impression is that this DNG forum has been neglected if not outright abandoned.  Just look at the obsolete and mistyped "announcement" at the top of the index page.
I would suggest posting in the ACR forum instead.
Wo Tai Lao Le
我太老了

Similar Messages

  • DNG profiles, Calibration tab vs. HLS

    Cross post (asked on the DNG forum but there isn’t much activity so forgive me)
    X-Rite and Adobe have provisions for creating custom DNG profiles. DataColor just announced a product that appears to operate like these two but instead of making DNG profiles (or as we had in the old days, altering the Calibration Tab), updates the HSL controls. My understanding is that DNG profiles and the Calibration tab operate in a different order of the processing, prior to all the sliders above them. My understanding is there are benefits for doing this but I’d like to know more about this. The question is, what are the practical implications of “calibrating” via a target that affects HSL sliders instead of producing a DNG profile, or at the very least, altering the calibration sliders? Eric you out there bud?

    thedigitaldog wrote:
    The question is, what are the practical implications of “calibrating” via a target that affects HSL sliders instead of producing a DNG profile, or at the very least, altering the calibration sliders? Eric you out there bud?
    I'm not Eric (not sure he would want to respond to this question) but I'll take a stab...first off, let me state that I haven't personally tested either the  SyderCHECKR PRO color target or the software. I've only watched the video and read the user manual. But I do have some issues regarding usability and the "practical implications" of using the HSL Sliders vs a DNG profile.
    There is one major implication–the SpyderCheckr produces a preset using the HSL adjustments rather than a DNG profile. I have no understanding (and haven't heard the rational) why Datacolor chose a Lightroom or Camera Raw preset instead of a DNG profile. But the first problem with creating "presets" is Lightroom and Camera Raw don't share "presets". So, unlike a DNG profile which will work in both Lightroom AND Camera Raw, the Spyder solution is application specific. The other major issue is that presets are not easily transportable compared to DNG profiles which actually get imbedded in a raw file. I have no reason to suspect that the HSL adjustments of Lightroom and Camera Raw CAN'T handle the color corrections needed for calibration, but the fact that the calibration depends on a "presets" limits its usefulness.
    What is also not mentioned in the videos nor the manual is what the user is supposed to do regarding the starting DNG profile. Does Datacolor suggest using Adobe Standard or some other DNG profile? I ask because the HSL calibration applied as a preset depends upon the DNG profile used to create the color sample file and adding a calibration on top of an existing DNG profile seems to complicate the whole calibration process. When using DNG profiles, it's pretty straightforward what the DNG profile creation is actually doing. Adding an HSL adjustment on top of an existing DNG profile adds complexity to the process and reduces the portability of the camera calibration.
    The documentation seems to imply that both DNG Profile Editor and X-Rite's Passport solution somehow limits the end user's ability to make further adjustments. I think this is false...while you can't currently edit the resulting Passport generated DNG profile in X-Rite's software, you can indeed edit the resulting Passport generated DNG profile in Adobe's free DNG Profile Editor. You can edit the preset that SpyderCheckr creates in either Lightroom or Camera Raw, but you are editing an absolute preset that applies HSL adjustments requiring the saving out of a new subset of HSL adjustments-and again presets are not interchangeable between Lightroom and Camera Raw. I see this as a very limiting factor.
    In principal, I encourage the development of more and better solutions for both Lightroom and Camera Raw. Whether or not the HSL calibration approach is superior to the DNG profile calibration approach, I really wonder whether or not HSL is a better solution than the DNG profile approach. It seems to me that Adobe (and Thomas Knoll and Eric Chan) have spent a lot of time and effort to develop an open solution to camera calibration that the SpyderCHECKR approach is ignoring. Personally, I would have encouraged the option to create either a DNG profile _OR_ an HSL calibration preset. I think it's a mistake to ignore the DNG profile approach.

  • I have downloaded DNG Profile Editor 1_0_4 and prepared a profile which I can not see in my Camera Raw 6.0 (I have photoshop CS5). Could you please give me an advice?

    I have downloaded DNG Profile Editor 1_0_4 and prepared a profile which I can not see in my Camera Raw 6.0 (I have photoshop CS5). Could you please give me an advice?

    Uninstall Trusteer software
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    Remove Sophos
    https://discussions.apple.com/message/21069437#21069437

  • Camera Raw Camera Calibration Tab and 5D Mark III

    I don't think that many people do this in camera raw, but it was kind of an important step in my workflow with the Canon 7D before and is just not working the same way with the 5D Mark III now.
    In the Camera Calibration Tab (Third from the right side) I always changed Camera Profile from Adobe Standard to Camera Standard or Camera Portrait. This step made the image automatically look better, contrast was better and the highlights look a lot better that way. Of course the "Camera Portrait" option makes the image a lil bit red, like the Picture Style in the camera does. But it was an easy adjustment with the Hue Slider of the Red Channel. Like I already said - really great improvement of the image on the 7D raw files, beautiful highlights, shiny, contrasty and so on... Same stuff worked with 5D Mark II perfectly, too.
    Now with the 5D Mark III the "Camera Portrait" option, my favourite one, gets me pretty bad results. The Image is too strong oversaturated, too much red in the skintones and in the shadows, too! Shadow contrast gets worse and I can't control this settings the way I did before with the hue/saturation sliders of the channels. It's too extreme red or it's too yellow, but not something right between this extremes. And the highlights get some green tint, so it's no real optimization of the image overall quality at all, like with the other cameras. I don't know if the support of the 5DMIII is still not up to date... It is not only my camera, I also have asked other photographers with a 5D Mark III and they have the same issues changing the camera profile. Lightroom has exactly the same effect... It would be great, if an Adobe Employee can forward this issues, so that it gets tweaked with the further updates and 5dm3 will work the same way in camera raw like mark 2 or 7D.
    Sorry for my bad english

    Yes, white balance is another possible reason for mismatch
    These rules apply:
    - if you use white balance "as shot", then white balance in ACR will be the same as from camera or DPP (in a sense - what is white color in ACR will be white in DPP also). However, color temperature/tint shown in ACR will be probably slightly different than value recorded in exif of jpeg or raw file. It's because in that case, whitebalancing is performed using some metadata in raw file by both ACR or DPP, while temperature displayed in ACR is calculated from that metadat using color matrices in selected profile, according to a formula from one book (as documented in dng sdk), while DPP is probably using some other formula or slightly different color matrices
    - the same will happen if you use WB dropper on exactly the same position in the photo by both ACR and DPP
    - but, if you use the same temperature preset in ACR and DPP (for instance 5200 K), then white in ACR and DPP will probably be a bit different, because whitebalancing is performed in oposite direction now (ACR calculates RGB multipliers from that temperature and using color matrices in the profile)
    I hope this was understandable, although it's a bit complicated

  • Camera calibration tab and camera color space

    Hi, I need a confirmation about the hue and saturation sliders on the camera calibration tab. They are there for fine tuning the camera color space primaries in a DNG profile? Thanks a lot.

    Hello, here I'm again.
    I'm probably in the wrong forum, because I can't tell you anything about the DNG secrets
    (though I have the specs).
    About your second question (more an issue for a color science forum), I've found something:
    Estimation of the primaries for a digital camera:
    Please refer to these docs:
    (1)
    Concerning the Calculation of the Color Gamut in a Digital Camera
    Francisco Martínez-Verdú et al.
    http://www.google.de/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&ved=0CEMQFjAB&url=http%3A%2F %2Frua.ua.es%2Fdspace%2Fbitstream%2F10045%2F973%2F1%2Fproof_final.pdf&ei=uL8UU8-dKYO9ygORs IKADQ&usg=AFQjCNGKNGHQZJoHu_dc2JwQwtLXOpsTBQ&bvm=bv.61965928,d.bGQ&cad=rja
    (2)
    http://docs-hoffmann.de/leastsqu16112006.pdf
    Given is an equation
    (*) X = C R
    We have two applications:
    (1)  Original question
    X = Matrix  X1 X2 ... Xm
                    Y1 Y2 ... Ym
                     Z1 Z2 ... Zm
    m=41 values in each row for CIE CMFs (color matching functions) 380nm...780nm
    R = Matrix  R1 R2 ... Rm
                     G1 G2 ... Gm
                     B1 B2 ... Bm  
    41 values in each row for the sensor sensitivities for red, green and blue CCD array elements
    Matrix C is found by solving equation (*), using the pseudoinverse.
    Matrix C contains the XYZ-coordinates of the primaries red, green, blue as columns 1, 2 and 3.
    (2) About the mathematics
    X = Matrix  X1 X2  ...  Xm
                     Y1 Y2 ... Ym
                     Z1 Z2 ... Zm
    m=24 values for the GretagMacbeth ColorChecker
    R = Matrix  R1 R2 ... Rm
                      G1 G2 ... Gm
                      B1 B2 ... Bm  
    24 values in each row for the RGB results als delivered by the camera, for instance in sRGB.
    Matrix C contains the XYZ-coordinates of the effective primaries(including sRGB)  red, green, blue as columns.
    (2) explains the principle of the pseudoinverse for overdetermined systems of linear equations.
    (1) explains the application for the identification of camera primaries for given sensor sensitivities.
    Unfortunately, the whole concept will fail, if the camera sensor sensitivities (CMFs) are not
    linear combinations of the CIE CMFs x-bar, y-bar, z-bar. In this case, a camera does not have
    primaries, but the computational result can be used as an approximation.
    CMF = color matching function (CIE)
    I regret –it cannot be explained 'for the layman'.
    Best regards --Gernot Hoffmann

  • DNG profile management

    Is it possible to create and use a shoot-specific custom DNG profile to process a set of images for a given shoot, and then archive that DNG profile for safekeeping but removed from view of Lightroom's Camera Calibration panel, without compromising Lightroom's ability to still work with that shoot's images - say, to make further develop refinements, virtual copy variations, prints, etc.?
    Asked slightly differently, when in Lightroom's Camera Calibration panel you select a specific DNG profile to apply to a given raw image, does the profile data from within that DNG profile become image-specific metadata of the target image and get stored along with the rest of the image-specific metadata in the Lightroom catalog itself (and subsequently in the DNG raw image file when I save the Lightroom data to that image file)? Or, instead, is only the IDENTITY of the selected DNG profile saved as image-specific metadata, with the DNG profile itself needing to remain "installed" in order to carry out any future Lightroom work on that raw image?
    Using the X-Rite ColorChecker Passport in conjunction with Lightroom, it is quite easy to imagine creating custom DNG profiles specific to a given shoot's unique lighting conditions. Creating DNG profiles specific to a given shoot, the collection of shoot-specific DNG profiles for a given camera body could grow to be quite large over time, making it tedious to wade through that collection in Lightroom's Camera Calibration panel to select the particular profile for the shoot being processed. X-Rite makes the "DNG Profile Manager" available to registered users of the ColorChecker Passport to assist with this very problem. It's great that this utility allows us to "Disable" DNG profiles, allowing us to keep our Lightroom Camera Calibration "Profile" menu manageable. But, if you use the X-Rite DNG Profile Manager to do this, does "disabling" a given DNG profile interfere with any further work in Lightroom on images for which that given DNG profile has ALREADY been applied?
    PLEASE do not speculate on this response. If you do not know for certain, please allow someone who does (an Adobe engineer, perhaps?) to enlighten us.
    Thanks in advance,
    /eddie

    Thank you to those who have offered responses.
    Please do not get confused. As the most recent response clarifies, this is not about storing profiles within original raw files, or the differences between DNG files and original raw files. In fact, at it essence, my real concern is not even about DNG files at all, really, although it includes them by association.
    My original question can really be answered in consideration of Lightroom alone: When a custom DNG profile is selected for an image by using the Camera Calibration panel of Lightroom's Develop module, does Lightroom itself internalize that DNG profile selection by recording into the Lightroom metadata database only the IDENTITY of that DNG profile assignment, or the actual DNG profile data contained within that DNG profile? If Lightroom records into the Lightroom database only the identity of the assigned DNG profile, then Lightroom would of course need to go back into that DNG profile later for the actual DNG profile data in order to do any subsequent development processing of the image for which that DNG profile was assigned. If, however, selection of a DNG profile using the Camera Calibration panel of Lightroom's Develop module causes Lightroom to record into the Lightroom database the actual DNG profile data contained within the selected DNG profile, then Lightroom would have no need to go back into that DNG profile later for the profile data, and the DNG profile itself could be safely "un-installed" ("Disabled" by the X-Rite DNG Profile Manager) without adversely affecting Lightroom's ability to properly process that image using the selected DNG profile's information. DNG image files themselves are not even really involved in determining the answer at this level.
    The interplay with the associated raw image's DNG image file occurs when Lightroom-maintained metadata for the image is saved out into the DNG image file itself, either automatically or manually, and, yes, I was being very specific to discuss DNG raw image files in that context. I understand from the response provided by "ssprengel" that saving the actual DNG profile data out into the associated DNG image file only happens when using "Update DNG Metadata & Preview" and does not happen through the more common routes of automatically or manually saving image metadata back to the DNG image file. Why this more robust ("complete"?) level of image metadata preservation out to the DNG image file only occurs through a more obscure mechanism is a mystery to me, but that is not the topic of this discussion.
    So, my real question really still remains. Combining the ideas from both of the paragraphs above, if Lightroom only saves DNG profile data out to the associated DNG image file using this more obscure mechanism, then does that mean that Lightroom does not normally retain the DNG profile data within the Lightroom database at all -- that it really only retains the identity of the selected DNG profile, and that only when this obscure mechanism is explicitly invoked does Lightroom deem it appropriate to actually read the profile data out of the selected DNG profile and pass that profile data along to the associated DNG image file, and that even then Lightroom itself does not retain that profile data internally? If this is the case, then the DNG profile cannot be "Disabled" without adversely affecting normal Lightroom processing of the associated image [by "adversely", I mean without having Lightroom revert to the Adobe Standard profile or any other unintended side effects]. However, if Lightroom actually does retain this profile data internally upon original DNG profile selection, even if it doesn't bother to save it to the associated DNG image file except through the use of the obscure function, then it would be safe to "Disable" the DNG profile after initial profile selection and not interfere with Lightroom's normal ability to process the associated image using that profile.
    Taking the obscure function awareness into account, I guess this now has the possibility of making this subject much more complex. If Lightroom does not store DNG profile data within the Lightroom database (which would require continued availability of the DNG profile for processing associated images), BUT Lightroom provides this obscure mechanism for "forcing" save of assigned DNG profile data out to the associated DNG image file, then what happens when the DNG profile is "Disabled" and Lightroom goes to process that image? Does it look into the associated DNG image file to determine if actual DNG profile data has been saved there and go ahead and use it if it exists? Or does Lightroom ignore DNG profile data saved to a DNG image file in all contexts, and unconditionally always require the assigned DNG profile to remain available in order to carry out normal Lightroom development or rendering processing of the associated image?
    This is admittedly a lot of words to discuss a simple desire: I want to shoot with shoot-specific DNG profiles, assign them to the shoot's images and develop them, and then archive off ("Disable") the DNG profiles from that shoot so that my Camera Calibration "Profile" listbox does not become unmanageable. Period. If I absolutely must go back and re-Enable a specific DNG profile later to make a print of one of those images a year from now, then I guess that's what I have to do, but that seems a real shame when all other image-assigned "edits" store those "edits" as image-specific metadata, and profile assignment is just another "edit" (although saving the profile data, rather than just the profile identity, may not be included in this "edit"). Whatever works out to be the simplest, most straightforward course to accomplish my objective is what I need to do. Ideally, that would be painless if Lightroom records into the Lightroom database the actual DNG profile data when the profile is assigned to an image using the Camera Calibration panel's Profile selector.

  • Where are DNG profiles stored?

       I recently downloaded DNG profiles from Adobe and also their profile editor. No trouble  installing and using the profiles in Lightroom. However, when using the editor and then naming and saving the receipt I can't get the new profile to showup in Lightroom. I suppose I'm not saving to the correct folder.
    Any help.
    Thanks

    Hello!
    From the DNG profile editor on labs.adobe.com: http://labs.adobe.com/wiki/index.php/DNG_Profiles:FAQ#WhereInstall they are in:
    "On Windows 2000 / XP: C:\Documents and Settings\All Users\Application Data\Adobe\CameraRaw\CameraProfiles"
    translated in Vista/7, it should be in: C:\ProgramData\Adobe\CameraRaw\CameraProfiles -and it might be a hidden folder- (according to a google search )
    Hope this helps!

  • DNG Profiles and the ACR Calibrator

    In the past the Fors ACR Calibrator (and the manual procedure conceived by Bruce Fraser) was required to account for production differences between instances of the same camera model. If I wish to use the new Adobe Standard Profiles, should I then rerun the Calibrator? I realize I will have to update the code to handle the new ACR version number - I already did this for 4.4.1.

    Thanks for the nice feedback, Bill.
    To clarify the point brought up by you and Richard: there are two basic ways to use the chart wizard feature.
    First, you can use it to build a profile optimized for one lighting condition. This is the more familiar case, esp. to those of you who have used the CR calibration scripts in the past. This mode is described in Tutorial 5, and is enabled by choosing the 'Both Color Tables' option from the popup in the Chart tab. What happens here is that a single set of color lookup table adjustments is created, which is applied regardless of the white balance of the image. You can use any illuminant when photographing the ColorChecker; doesn't have to be illuminant A or D65. Such a profile will work pretty well as long as your real images don't stray too far spectrally from the illuminant you used to shoot the CC.
    Second, you can use it to build a more general profile as described in tutorial 6, but you would need to shoot the CC in conditions as close as you can get to A and D65 for best results. (~D50 or ~D55 lighting as a substitute for D65 should work pretty well.) The DNG 1.2 profile format actually allows the two illuminants to be different than A and D65, but currently the DNG Profile Editor's chart wizard feature only supports these two.
    Bill, you should be able to shoot the checker in the manner you describe (i.e., under noon sunlight on a blue sky day, and also under the incandescent bulb) and have it work well.
    When I was testing this, I used a standard household incandescent (very close to illuminant A; I was curious and measured it with an Eye-One spectro) and then tried various flavors of daylight (including Solux bulbs, which aren't that close to D65) for the D65 "half" of the profile. The daylight portion didn't make that much difference.

  • Camera Calibration in ACR & DNG Profile Editor

    I am having the hardest time figuring out how to use the camera profiles  generated with DNG Profile Editor in Camera Raw.
    I am using Photoshop CS4 in Windows 7. I have generated the .dcp file  with DNG Profile Editor and saved it in the folder: Program  Files/Adobe/Photoshop CS4/Presets/Camera Profiles.
    This is about as far as I've gotten. I have not been able use this  profile in ACR under the Camera Calibration Tab. I have been lead to  believe that is would show up automatically. I have not found any video  tutorials related to ACR and installing Camera Profiles. They all seem  to relate to Lightroom.
    Any help would be greatly appreciated.

    If you would like to look or copy profiles manually (for example you have received a profile made by someone else; for Windows7 you should be able to see where the Profiles are stored by searching for *.dcp (meaning any file with the extension .dcp)
    That will show you where the Adobe supplied profiles are located. You can copy your custom profiles to the sub-folder of your camera type in the Camera folder.The other folder you see is where the Adobe Standard profiles live.
    If you cannot see the programdata folder (and that is the case by default) you can make all hidden files visible:
    (this from Windows Help, just search for show hidden files)
    Computer>Organize>Folder and search options>View. In Advanced settings check the radio button Show hidden files, folders, and drives and then OK
    Now you should see the programdata folder visible under your system (C:) folder
    I hope that helps.

  • X-rite colorchecker passport profile created but does not appear in the  Camera Calibration tab!

    I have installed x-rite colorchecker passport and lightroom 5.0. I followed the tutorial in setting up my camera profile and lightroom reported created successfully. However after restarting Lightroom, I could not find my created profile other than the Adobe Standard in the Camera Calibration tab.
    Please help !

    X-Rite has a free DNG Profile Manager that can be downlaoded after registering your ColorChecker Passport here:
    http://www.xritephoto.com/ph_registration.aspx
    You will be offered a link to download the free app. See if the profile you created is visible with the app.
    Here's where the user camera profiles should be located with LR5:
    Windows—C: \ Users \ [your username] \ AppData \ Roaming \ Adobe \ CameraRaw \ CameraProfiles \
    Mac—Macintosh HD / Users / [your username] / Library / Application Support / Adobe / CameraRaw / CameraProfiles /
    Profiles are camera model specific so a Canon 600D camera profile will only be visible when a 600D raw image file is selected. You need to create profiles for each camera model separately.

  • ACR calibrate tab and Vuescan DNG

    Having ordered a Nikon Coolscan V ED scanner to digitize ektachrome slides, I am now busy reading and thinking about how to best to include scanned pics in my workflow. Note that one key element of my workflow is to do as much as possible in ACR per the teachings of Bruce Fraser, Jeff Schewe and others. The current ACR 4.x is more than just a raw converter.
    I realize that I can make a custom profile for my scanner. However, ACR does not use scanner profiles or camera profiles. Instead, ACR provides the calibrate tab to accomplish the same purpose. Has anyone calibrated their scanner as follows and if so, do you have any tips/suggestions to share?
    1. Use Vuescan professional to scan an it8 target. One source for reasonably priced targets is Wolf Faust, http://www.targets.coloraid.de/
    2. Tell Vuescan to output the scan as a DNG. Yes, I know this is not a true raw image.
    3. Open the DNG in ACR and go through the calibration process. If you are not familiar with this process, here is a description by the late Bruce Fraser. http://www.creativepro.com/story/feature/21351.html
    Of course Bruce was describing the process for using ACR to calibrate a camera, not a scanner. Fortunately, the principles are the same. The color patches on an it8 target are supposed to conform to a standard and you receive a file stating those color values when you buy the target. The goal then is to scan your target and then use the ACR calibrate tab to tweak the colors of the scanned image so they are as close to the standard colors as possible.
    4. To help with step 3, Rags Gardner has posted a CS script for it8 targets at http://www.rags-int-inc.com/PhotoTechStuff/ColorCalibration/
    This script does not do the calibration for you but instead it reads the color values in your scanned target and produces a report showing the color values in your scanned target and the standard color values you are trying to get close to via the calibration process.
    5. Save the result of the scanner calibration and recall it whenever using ACR to process DNGs produced by the same scanner and Vuescan.
    Does this make sense?
    Anyone tried it?
    Can the ACR calibrate process work with a Vuescan DNG?

    Joseph,
    My first reaction is that I would recommend traditional profiling for scanners and skipping ACR completely. That said, I enabled TIF scanner support as a result of a request from another user. He indicated he was satisfied with the results. The ACR calibration script does calibrate. With the proper target datasheet, it can be used with negatives. The read colors script merely reports the target/image differences. The DNG step should be unnecessary.
    Since this is somewhat new territory with CS3, I would be willing to work with you offline to see if we can accomplish something that fits your workflow. Contact me via my web site.
    As a TIF image, I would expect ACR to honor whatever image profile was already tagged on input. Thus, ACR could be used simply for aesthetic tweaking and things like cropping. I must admit I have not tested this thoroughly. It might be treating it as untagged raw values? If so, I have a lot of questions about what ACR does with JPG images.
    If ACR is ignoring the TIF profile, it could explain why Vuescan is not giving you the results you expect. Have you run a target through Vuescan profiling, saved it as TIF, then just run read colors to evaluate the results? Then do the same after opening in ACR with everything defaulted.
    Cheers, Rags :-)

  • What does "Camera Profile" mean in the Camera Calibration tab in PSE 12?

    I recently made the switch to edit exclusively in Photoshop Elements 12. I need help understanding what I need to select for the "Camera Profile" drop down in the Camera Calibration tab. I shoot with a Canon Mark II. Will the camera profile selection affect my prints at all? First, what does the camera profile mean? I go back and forth between Adobe Standard and Camera Standard. Sometimes I get truer color with Camera Standard than the Adobe Standard for my outside photos. I'm so confused as to which one I should be editing with. I just want to be sure this is not going to affect my prints because I just recently ordered a print from Millers and it was saturated, shadowing and skin had orange tone. I have never had a problem with my calibration and have always ordered from Millers with no problem. This is the first print I ordered after editing exclusively with PSE 12 so I'm wondering if I have setting wrong. Thanks so much!

    Will the camera profile selection affect my prints at all?
    It will affect prints to the same extent that it affects the monitor display, but no more than that. The differences that you see in color rendering when switching between profiles will be embodied in the jpg that you eventually make for sending to the print lab, but will not in itself cause the discrepancies you describe.

  • DNG Profiles and Camera Differences

    The primary stated reason for performing a calibration before the DPE was to account for differences between units of the same camera. With the new Adobe Standard profiles, am I correct in saying that it is no longer possible to customize the Adobe Standard profile for a specific camera, since the ACR 4.4 version is always used by DPE as the starting point for the Chart operation?
    I find that there is a marked difference between ACR 4.4 and Adobe Standard, with ACR 4.4 being much more saturated - it's not subtle - at least for my camera (Canon XSi/450D).
    Thanks,
    Selby

    Eric - thanks for the response. I was afraid that would be the answer! :-)
    Seems I'm likely asking for an enhancement based on the following:
    As I understand it, the ACR 4.4 profiles were all based on processing color checker (or other target) shots made in the lab. Then Adobe Standard profiles were built using ACR 4.4 profiles as the starting point, but applying some adjustments to deal with issues raised by users. Due to the large number of cameras supported, I am guessing that this was applied programmatically - that each camera was not reprofiled?
    So it appears that what I'm asking for is the ability to use the Chart facility in the DNG Profile Editor to use my image(s) of a Color Checker as the starting point, and then have the same changes applied that were used to build Adobe Standard. I gather that this is not possible at present.
    I don't pretend to be an expert on the internal workings of the profiles which leads me to the following question: is this reasonable and/or practical?
    BTW, I do find that Adobe Standard works better for me than either ACR 4.4 or anything I can generate with Chart. However, the insistence by those with much more experience than myself that the differences between instances of the same camera model are visible, led me to ask the question.
    Since Adobe Standard is a big improvement over ACR 4.4, I'd like to pick up those changes since I doubt I could do anywhere near as good a job trying to make the changes "manually", unless of course, it is possible to describe the adjustments needed to use the DNG Profile Editor to accomplish this (other than by eyeballing it).
    Thanks,
    Selby

  • Colorchecker DNG profile using polarised studio flash and polarised lens

    I am attempting to copy paintings and various 2D artworks using polarised flash and a polarising filter on my lens and need a really good camera profile for this exacting work.
    The profile I have made using the DNG profile editor looks very weak across all the colours of the test chart and I could never apply this to my images.
    Can anyone give advice on how to get a good result?  Am I meant to be tweaking colours by eye to best match the colour checker? This would seem a really bad work flow!
    I used to be very happy with the Thomas Fors calibrator. . . Cheers, Ian

    You test the color accuracy of the profiles you make with scripts from this page:
    ACR Camera Calibration and Validation
    Or I like to use Imatest Studio which gives a graphical representation of the color error, as illustrated here:
    Adobe Calibration Results Photo Gallery by Steve Sprengel at pbase.com
    These measure hue error not luminance (brightness) error, and perhaps optimal hue doesn't lead to pleasing images.
    You can try starting with a different default camera profile instead of Adobe Standard, maybe Camera Standard, and see if that results in a better profile.
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