EA3 - spreadsheet highlight still too dark!

Oops, this doesn't seem to be fixed... and it makes anything thats highlighted unreadable!
Mac L&F
screenshot:
http://marhar.blogspot.com/2008/02/sql-develop-ea1-worksheet-hilight-issue.html

See, that's why I can't give you dates ;-) If we're out by a few... anyway we figured it was more important to get a few more fixes in. We are working on the 2 week cycle.
Let's go to the colours. You know about the Preferences -> Look and Feel setting? Here you can select any colour combination you prefer. The Fusion Blue (default) is from the Fusion platform and we consume this by default, but you don't have to. You can choose Oracle and then any one of a number of colour combinations to suit your environment. (There is a developer who sits near me who works with a screen that's a combination of red and yellow!)
Sue

Similar Messages

Still too dark after color corrector 3-way

I've checked other tips on video that's too dark (i.e. quicktime HSL balance) but am still having a problem with a clip. It's a series of clips in a skating rink and the brightness of the flourescent light is keeping me from bringing up the remainder of the dark floor, skater, etc. to a point where it's similar to the other clips of the skater during other footage taken. I've first lowered the blacks and on the whites have raised it to the point just before the exclamation mark warning. But it's still just not matching the other clips I've been able to brighten from the same roller rink. I'm fairly new at this. Any suggestions as to what I can do? Thanks

My apologies and thank you for assisting. I see you're from Chicago and I'm from California. I imagine you gotta hit the sack. I'm 56 years old and the learning curve is just a tad too big I guess. Based on some notes I found on how to save a clip from FC to be able to send, I attempted to save 4 examples for you. Well all four were the same clip. I guess I could at least send that one but it's the best of the four so it would be hard for you to see a comparison. I'm not seeking better fleshtones but rather a brighter global picture. As I mentioned in my original posting the bright flourescent light are the killer. I sure appreciate help here. Trying to help someone go to Australia next year for national skating competition and wanting to produce a video for donations. Just over my head but learning. How could I send you even the one clip I was able to make a tiff of? I don't see attachment options here. Sorry again for my ignorance on things like this. Trying...

Safari Toolbar Still Too Dark

Leopard 10.5.2 did not correct the shade and density of the toolbar. Does anyone have suggestions or solutions to lighten the shade? Perhaps a 3rd party app?
bolobar

Hi bolobar,
Welcome to Discussions. It's no guarantee, but I remember SafariStand used to allow you to toggle the shade of the unified window. As it depended heavily on SIMBL, I'm not sure how its implementation has been altered with the advent of Leopard.
Yang

Printing too dark in CS4

I have CS4 on Tiger 10.4.11 on a completely color managed system, Epson 4800 printer. Printing seems to be broken in the new version. Prints are very dark. I know to select "Photoshop Manages Color" in Color Handling, and "No Color Management" in the printer color management dropdown. The procedure works fine in CS3.
That something is up is suggested by this wrinkle. In this case I am printing using advanced b/w. If under color handling I choose "Printer Manages Color" and go into the b/w advanced setup, it's still too dark. If instead I choose "No color management", then make my choices in advanced b/w, it works fine.
One would first think that it's a double color management problem, but I'm turning it off anywhere I can see it in CS4, and still having problems. Is there a new secret handshake I haven't puzzled out yet?

> So, Eric, you are saying we need to Convert to a space (or gamma) in
> Photoshop before Command+P -- because the Epson Adv B&W driver will
> assume a color space/gamma -- what would that assumption be based on
> (gamma of our Mac default MonitorRGB)? Assuming I am not talking
> about feeding the Epson grayscale.
Yes.
The ABW driver wants to be fed gamma 2.2-encoded image data.
This is why my standard recommendation for printing to the ABW driver __ONLY__ is to use:
Color Handling = Photoshop Manages Colors
Printer Profile = Adobe RGB
Rendering Intent = Relative Colorimetric
Black Point Compensation = Enabled
Why does this work? Because no matter what your image working space is (e.g., sRGB, Adobe RGB, ProPhoto RGB, Apple RGB, ColorMatch RGB, etc.), doing this will cause your image data to be encoded in gamma 2.2 before the data gets passed off to the driver. (Adobe RGB has a gamma encoding of 2.2.)
The same workflow will work in Lightroom, too. You just need to check the "Display Profiles" checkbox in Lightroom to access Adobe RGB when selecting a printer profile.
If you are in grayscale mode instead of RGB mode, choose "Gray Gamma 2.2" instead of "Adobe RGB" for the printer profile.
However, the catch is that -- as noted in this thread -- there is currently a glitch, which we (Adobe + Apple + Epson) are investigating. One of the symptoms of that glitch is that the above suggested workflow does not work on Leopard.
> Does this CS4-Apple-Epson issue have anything to do with some users
> reporting dark prints in Photoshop Manage Color - No Color
> Adjustment Epson workflow? -- For example, someone using 1.8 gamma
> Monitor RGB...
Unlikely.

Prints too dark with Photoshop Elements 10

My photos are printing out much darker than what is on the monitor display. I have calibrated the monitor and changed the color profile, color management & color space numerous times and they I cannot see any difference in the prints. I've changed the printer settings, still too dark. I have edited the photos and brightened them, still much darker than on the display. I'm using Photoshop Elements 10 with a new monitor and computer. My old computer and Adobe Photoshop CS2 program did not have this problem. Any suggestions?

Check to be sure that color is not managed both by PSE and by the printer. In editor, go to Edit>color settings and check "always manage color for computer screens." Then, go to File>print>more options (lower left in the dialog)>Color Management tab>Color handling: "Printer Manages Color."
Are drivers and firmware for your printer up to date?
Do pictures print well via other applications with your equipment?
Have you printed a file, processed in Elements, at a kiosk, such as at CVS? How does that look?
I assume that you are printing from Editor, not from Organizer. It is said that the print engines are not the same.

Printout is too dark. PSE 7, Windows Vista

Hi,
My name is JPSingh. After editing when I print the photo is darker than the display. This does not happen when printing the same image with the same printer driver when I use Microsoft Office Picture Manager and Canon Easy Photo PrintX. The settings in Photoshop are:
Edit/Color Settings: No Color Setting or Always Optimize for Printing (does not affect print- still too dark), Print Color Managem
ent: Color Handling/ Photoshop manages color, Printer Preference: Canon MX850/ Color Intensity: Manual, Printer Profile:created by C
olorMunki (works with other photo editing programs), Rendering Input: Perceptual
Browser: Firefox
Operating System: Windows Vista
Printer model / driver version: Canon MX850
Video display card / driver version: Windows/System32/drivers
Would like to hear soon.
JPSIngh

Try using Color Management as : Printer Manages Color and check whether it makes any difference.

Lightroom 5 Prints are too Dark - We Need a Fix Now!

Hi
Am using LR 5.7
I import images in RAW and convert to DNG.
hen I export as a JPG and print, the prints are fine.
When I print from Lightroom's Print Module, the prints come out too dark with a significant loss of detail in shadow.
Adobe.... This has been a major problem since version LR 1... It is High time you fixed it! I have wasted dozens of sheets of paper due to this problem!!
My screen is a 24" calibrated IPS ASUS monitor.
Windows 7, 64Bit.
Many Thanks
Kind Rgds
Rob

Robert Mack wrote:
Hi Butch
Do a google search for Lightroom Prints too Dark and you will find dozens of posts for all versions of LR. It is a common problem.
There are many hardware and software issues that according to a "Google search" would appear as a universal problem, while in reality, they are far from widespread. I can assure you that Lightroom would not be as popular as it is today if this were indeed a universal problem.
Robert Mack wrote:
I also upload images from LR to a Print Lab and the prints are fine.
Yes, but is your lab making adjustments to the images during the print process? Many do. My labs do not, they simply print the files as they are submitted. Many consumer and "pro"-sumer labs apply auto correction to image files. Most of these labs do not even inform you that they are applying those adjustments.
Robert Mack wrote:
The problem is using the LR Print Module to print on a printer attached to my PC.
I have the same problem with an Epson R1900 and a Mitsubishi
Yes ... and if you are applying the same settings/instructions in Lr for printing, the problem will persist regardless of the brand of printer used.
Robert Mack wrote:
LR had ICM managed by Printer. The Printer has ICM managed by Host.
I did try this using the printer's ICM profile within LR. Still too dark.
This could be part of your problem ... if Lightroom is set for the printer to handle color management by the printer ... and your printer is set to be color managed by the host (i.e. - Lightroom) ... then in actuality, the images you are printing from Lightroom are not being color managed at all. Ideally, you should have Lightroom set to manage printing when you have the printer driver set to "managed by Host" ...
Robert Mack wrote:
No windows apps are adding any additional processing in the printing process as far as I am aware of. The only exposure correction / adjustment was done in LR..... I am choosing the same printer paper profiles in all methods of printing.
You may not be making settings in your Windows apps ... but if your printer driver is set to make auto adjustments by default when printing from these apps could explain the difference.
Additionally, many folks think they are "calibrating" their monitors when they are not doing so as it pertains to printing. Accurate color is only one phase. While your colors may appear true, the monitor brightness may be too much to accurately render a near match of what a printed version of the image would be reproduced.
As trshaner pointed out, not only do you need to render a close approximation of color ... but also overall brightness. Most monitors/displays, even very expensive and high resolution displays, are extremely bright at default settings for rendering a close match for printed material. That overall brightness level should fall within 90 to 120 cd/m2 and be adjusted as needed for your specific viewing environment and papers and printer inks combinations.

Hello, RAW snaps too dark in Lightroom.

Hello,
I made a snap with D-Lichting automatic in JPG and in RAW format at the same time.
When I look to the snaps in Photoshop I remark a difference in histogram. Both snaps have the same wave length, not the same frequencies. The red and blue colors’ are a higher in RAW; the green colour is higher in JPG!
Both pictures look to be the same, lighting seems to be ok.
The same RAW picture opened in Lightroom is dark, under-exposed you should think.
Could I get some advice to get solved this problem?
Many thanks in advance
Marianne

Dear Rob,
ADL is off and I made again some snaps. RAW ( NEF) and JPEG are taken at the SAME time.
When I have a look tot snaps in Lightroom they look ok. When I have imported them in Lightroom they are still too dark = over exposed. What could be happen?
vriendelijke groet!
Marianne
Van: Rob Cole
Verzonden: woensdag 29 oktober 2014 13:41
Aan: Marianne Matthys
Onderwerp: Hello, RAW snaps too dark in Lightroom.
Hello, RAW snaps too dark in Lightroom.
created by Rob Cole <https://forums.adobe.com/people/areohbee> in Photoshop Lightroom - View the full discussion <https://forums.adobe.com/message/6878930#6878930>

Epson Stylus Pro 3800 - Prints too dark.

I had a Hewlett - Packard pigment ink printer and until it bit the dust, it printed very accurate, beautiful and to the display prints. I have a cheap Canon printer that puts out prints that can match the display too. I just purchased a new Epson Stylus 3800 printer and my prints are much too dark, too much contrast and ever so slightly posterized.
I am using Photoshop CS2. I have checked and I believe the drivers on my printer are current. I have tried letting the printer determine colors as well as letting Photoshop determine colors and turning off the printer controls in the print setting dialogue. The prints are OK - ish, but just not what's on screen and not what I want them to be. My screen is calibrated well enough. It is not paramount that my prints be totally and completely like the display but close.
Any help would be greatly appreciated.

Thank you one and all for all of this valuable advice. I have a professional coming in to tutor me. I know I can love this printer and want it to work for me as it works for some of you.
Ralph: The 3800 IS set as my default printer. I think I have the most recent drivers but am not positive because I can't find the driver folder to check the version. I know . . . . please bear with me, I try very hard. I have crashed three computers (crashed to the point of needing to be reformatted) and have learned the hard way, be careful when you download.
I used the in house (display calibration device) to calibrate my monitor. I feel it will do well enough for what I want to accomplish. The white point is set at 6000 and I set the tgarget gamma at 2.2 because I found the Mac Standard 1.8 made the display too bright.
My step by step printing settings are pretty basic: I use the embedded profile on one it is sRGBIEC61966-2.1 and on the other it is Duotone. Print With Preview, Let Photoshop Determine Colors, Black Point Compensation checked, and Rendering Intent set to Relative Colormetric. In the Printer Profile: I use the profile I downloaded from the paper's site OR an Epson profile. In the printer driver dialogue I make sure the 3800 is the chosen. Printer Color Management: I check the radio button for Off (No Color Adjustment) In the Print Settings dialogue (I have tried many with the same results.) The closest I came to what I wanted is when I used the front manuel feeder setting, with Velvet Fine Art Paper and checked Advanced Setting, Superfine - 2880 dpi and unchecked High Speed.
For the Let Printer Determine Colors I used Relative Colormetric. In the Printer Color Management I checked Color Controls. In Print Settings I used the same as above, Velvet Fine, Advanced and 2880dpi with High Speed off. The results were similar to the Photoshop settings but both were still too dark with very faint posterization in the gradients.
I have tried many combinations and I always go back to be sure, if I am letting Photoshop do the colors, to check and see if Off (No Color Adjustment) is still checked.
Jeff: Again to all and to you Jeff, thank you for your input. I AM trying but it's difficult. Around here there aren't many with the kind of expertise you have and so I have tried to learn this on my own. All I want to do is print my things. Just get the printer to do my things . . . . one good print at a time.
Sorry this is so long. I am going to get booted now. My server is going off-line to do upgrades. I am receiving my internet through low frequency microwaves and the little start up wants to make it better.
Thank you all for this helpful advice. I will now try to digest it.
Mary Ellen
If anyone knows were I can find the driver folder (exactly) I will look for it. When I open the Epson Utility it says Epson Printer Utility2 3.57 . . . . when I go to the Epson download site it says the version of the driver offered is 3.57 and so I think that I've got the right version.

HT5557 I highlight and study e pubs in ibooks. Now with the up date the color coding that I've be using are too dark and no way to adjust opaqueness. (SHOULD ADD THIS.) Is the an app to by to add to ibooks????

I highlight and study e pubs in ibooks. Now with the up date the color highlighters that I've be using are too dark and no way to adjust opaqueness. (YOU SHOULD ADD THIS.) Is the an app to by to add to ibooks???? Or an app to but to have other highlighter colors and be able to use the in ibooks???

I highlight and study e pubs in ibooks. Now with the up date the color highlighters that I've be using are too dark and no way to adjust opaqueness. (YOU SHOULD ADD THIS.) Is the an app to by to add to ibooks???? Or an app to but to have other highlighter colors and be able to use the in ibooks???

I just bought a new Ipod classic and turned the brightness up to 100% but it's still almost too dark to see! Is this defunct or what?

I just bought a new Ipod classic and turned the brightness up to 100% but it's still almost too dark to see! Is this defunct or what?

What is the battery level?
Charge the battery for at least 4 hours, before 1st use.
Have a nice day!

Canon 1D MkIV images too dark

Hi there
Having a problem here. The RAW images from my Canon 1D Mark IV come in a stop too dark!
When I open them, they lookfine; a second later they switch to a too-dark version. I am using Camera Standard, and no other adjustments.
It's not just visual: the histogram of the opened file is shifter a stop to the left compared to the same phoito's histogram on the camera.
Any ideas? This is a major issue for me since I rely on both the 1D MkIV and Lightroom to make a living...
Many thanks
Michael
www.michaelwillems.ca

Hi M, the question is simple, but the answer is complex. I'll provide an example to try to illustrate. The attached image is a downsampled version of a JPEG from the 1D Mark IV. It's a test picture of a color chart. I've drawn a red circle around the 2nd gray patch in the 4th row. When I take a picture with the 1D Mark IV zoomed into this patch at this exposure, I get a histogram all the way to the right. And indeed, when I open the file in any image editor (e.g., Photoshop, or DPP), and use a color picker / eyedropper to sample the values, the average value of that patch is (255,255,255). So this is like in your example when you say you look at the histogram (e.g., in DPP or on the camera LCD) and it's all the way to the right. In other words, the histogram effectively says this patch is clipped to the max value.
However, if we look at the average raw values in this example for that patch, they are actually (on an 8-bit scale) about (72, 209, 187). In other words, the actual camera-recorded raw values are still pretty far away from clipping to 255. (I should also mention that the camera-recorded raw values aren't white-balanced, which is why the green value is much higher than the red & blue values, above.)
So you can see there is a discrepancy between the camera-produced JPEG and the actual raw values. In this example, the camera histogram and JPEG values indicate a clipped patch at (255,255,255). If you are going by that histogram, then you would conclude reasonably that this patch is overexposed and clipped -- when actually it is not.
More generally, there are always discrepancies / differences between camera-recorded raw values and the histogram shown on the back of the camera (as well as the JPEGs rendered by the camera). This isn't error. This is preference. Cameras and software apply "preset" exposure and tone curve processing (and possibly sharpening, noise reduction, etc.), and the histograms you see on the back of the camera are based on those presets (not the actual raw data). This is why your histogram on the camera will change depending on your in-camera settings of white balance, tone curve, contrast, etc.
There is nothing wrong with the 1D Mark IV. Many Canon DSLRs currently leave a lot of highlight headroom, i.e., when metering they will be conservative on the highlight side, and expose a little less. As I recall (don't have my full notes in front of me), the 1D IV spot meters about 3.5 stops below the actual clipping point. In other words, if I had spot-metered that gray patch in the attached example, and started with the meter needle in the middle, I could then increase the exposure by about 3.5 stops before I actually clip that patch. That's quite a lot.
To summarize: you have to be careful when interpreting camera histograms. In many cases, it is easy to interpret that something is clipped when in fact it is not. If you see a histogram that appears bunched up to the right, the tendency is to decrease the exposure, and therefore make the histogram move to the left (so you aren't overexposing). In reality it is possible the original exposure was fine (without overexposure), and all that's happened is that now the image is even more underexposed.

LIghtroom Auto Tone Too Dark and Loses Detail

Hi,
I'm new to Lightroom so excuse my ignorance if I use the wrong terminology or ask a question that has a relatively easy answer I somehow overlooked inside of Lightroom.
I take photos at my son's soccer games and frequently walk away with over 200 photos to adjust, crop, etc. after removing the poor composition, out of focus and other shots. One of the features that prompted me to purchase Lightroom to replace my existing tool (Capture One LE) was the way Lightroom handled colors in the Auto Tone preset. Photos auto adjusted in Lightroom with the Auto Tone feature exhibit a much more rich/vibrant color than the ones that would come out of Capture One LE for me.
However, I've noticed that Auto Tone also darkens areas of the photo to the point where a significant amount of detail is lost. For example, a shot of a player head on with a shadow across his face and front of his jersey loses facial detail around the eyes, nose, mouth and folds in the front of the jersey because the coloring is darkened to the point where the highlights are lost.
I've tried several adjustments to regain the highlights and associated detail, but am unsure if there's a better way to recover the detail (or gain the tone enhancements without losing the detail). So far, the adjustments I've tried to regain the detail have caused the colors to wash out somewhat and reduce the benefit gained with the color enhancements of Auto Tone.
Is there a better way of regaining the detail after using Auto Tone? And on a related note, is there a way to "undo" just the Auto Tone adjustment in a photo if it's not the last adjustment made, or does one need to step backward through the adjusments undoing each adjustment in order to get to the Auto Tone adjustment in order to remove it?
Thanks in advance for any direction or suggestions anyone can provide. FYI, my photos were all in RAW format (noticed a lot of other posts referring to LR Auto Tone washing out JPGs, but this isn't my issue), with a Canon 20D.
Dale

There are several ways to go, here, as always with Lightroom in this situation. I suppose one thing you can do is use Auto Tone as you've been doing, and then back down another slider or two, particularly Contrast and Brightness, that moves too far for your taste when you hit Auto Tone.
I don't use Auto Tone. It's considered a machete where deftly-wielded surgical knives get much better results. I tested Auto Tone out on a virtual copy of one of my photos of people for you to see what happens. It bumps Contrast way up, drops Brightness a bit, reduces Fill Light, and increases Blacks slightly. Yeah, that would pretty much get the results you're complaining about! Might work okay in some landscape shots in some very subdued lighting situations, but it will make family shots too harsh.
Let me suggest another approach. First, no one checklist approach like I'm about to suggest works for every photo. But when you learn how to use the sliders yourself, and not rely on the automatic and strongest ones, like Auto Tone and Contrast, your photos will look better than you even realized. Seriously! I know what you're saying:
I take 200 photos at a time, and I don't have time to play with sliders for each photo. Hear me out, though, because you do. Once you get the hang of it, you'll learn to do all this so fast, well less than one minute per keeper shot, and you'll see that it's worth the small amount of time it takes.
First look at all your Imported shots and quickly weed out most of them. Don't try to save the ones where your main subject is out-of-focus or turned away at the last second, or badly overexposed shots, or for whatever reason, aren't worth editing time because you know you have better ones... and you should weed out MOST shots (maybe at least 150) if you took 200! Be a tough editor! Hit the X key as you look at ones to cull, then click Filter by black flag until all the Rejected photos Only are isolated, check them one more time to be sure you didn't X some you want by mistake, ctrl-A them to highlight all the Rejected ones ONLY, and hit Delete to blow them all away, From Disk. Congratulate yourself, because you just saved a lot of editing time.
Assuming the Exposure was in the right ballpark, fix Color Temp first. For your first keeper shot, move that Temp slider near upper right of Develop, almost certainly to the right for Canon Raw shots, to warm the faces a bit. You probably don't want the kids' faces ruddy red, but a little warming so that white jerseys just begin to go slightly to the red side of white, makes your outdoor people photos glow. It wouldn't be surprising to see family soccer photos in the 6000-6500 range look best. If you want cold journalistic realism, leave white jerseys pure white and Temp down in the 4000-5000 range on a cloudy day or 5000-6000 range on a sunny one. Now, if one shot's right, and
if your light didn't change during the shoot (sun going in and out of clouds, sun setting, field lights turning on halfway through the game), you can fix Temp for all your remaining shots with just a couple of clicks! Leave the first shot you fixed Temp for highlighted, and ctrl-A the whole filmstrip (or, alternatively, you can just ctrl-click the ones taken in the same light). Now click the Sync button that appears near the lower right corner of Develop. A window pops. Make sure White Balance is checked, and click Synchronize. (Every field checked here gets applied the same as on the first highlighted shot to all your subsequently highlighted shots when you do this. Since you haven't changed anything else yet, you don't have to uncheck the other boxes-- it won't matter. But later, after you've made other adjustments to other shots, you might only want to leave the boxes checked for fields you do want applied the same to all highlighted photos.) When you click Synchronize, watch all the highlighted photos in the filmstrip at the bottom get a warmer color balance. You can always later make more refined adjustments to individual shots or groups of shots that go too red or not warm enough.
The next thing to fix is the Exposure. Get in the habit of constantly consulting that Histogram graph at the top of the right column. Ideally, though this isn't always possible or ideal, but generally, you'd like to see neither triangle in the upper right and left corners
lit. (When it's right, you'll still see the outline of the triangle, but it won't be illuminated.) Even better, for an average outdoor shot with a variety of light and dark tones, you want to see a nice balanced line across most of the graph, curving up from the left and down on the right. Not always possible or the best exposure for every shot, mind you, just average ones. (A silhouette shot on a beach with the setting sun in the photo is an example of a shot where the best Histogram will look the opposite of that!) Try moving Exposure slowly to the left and right and watch how the Histogram moves. Try to get the best average placement you can, and see if the photo still looks right.
Or watch your grass with soccer shots while you move Exposure back and forth. Grass should look middle green, not too bright, and not dull-muddy-dark. Or watch faces. If you still have a triangle on the upper right of Histogram, which means highlight detail is blowing out, try sliding Recovery to the right just until the upper right triangle disappears, if possible. (It isn't always possible, even with Recovery at 100.) If you still have a triangle on the upper left of Histogram (that one means shadows are muddy with no detail), try sliding Blacks down from 5 towards 0, just until the triangle goes away. Sometimes it's easier to make a triangle go away by moving Exposure a bit. If there's no triangle on the upper left, try increasing Black slowly just until one appears in the upper left, then back off a bit until it just goes away again. If there are harsh shadows, increase Fill Light to brighten shadows a bit until it looks right. Losing the triangles is a general goal but not as important as having photos look right to you. It's a juggling act. Sometimes when you remove the triangles, the grass is muddy brownish, faces look wrong, or highlights are too dull. Maybe you move Exposure, Highlights or Blacks to put one or both triangles back but leave the overall photo better.
Now just do two more things, especially as you're learning this: first, increase Clarity. Probably a bunch. If faces go too harsh on you with Clarity at a highsetting, and they can in closeup, you may want about a 20-45 on Clarity. Many photos look best with even higher Clarity settings, even 100 for landscapes. Now bump Vibrance up, probably to the left of the Clarity slider, though. Too high a setting on Vibrance makes colors looks cartoonish and fake. Are faces too ruddy or foliage too over-the-top? Back off on Vibrance.
Look at the Histogram one more time and touch up Recovery and Blacks again if needed to get rid of barely reappearing triangles.
I recommend you do not move the following sliders, generally, for 99% of your photos, anyway: Tint (just usually not needed if the camera is doing color balance correctly), and Brightness, Contrast, and Saturation, all of which are ham-handed ways of doing what you do more precisely with the other sliders. About the only time you need Saturation is to move it left with a rare shot that for some reason has too much color especially red even with Vibrance set to 0. (Maybe your camera is set to Vivid.)
Doing these things will make most of your photos look WAY better than hitting Auto Tone. And once you get the hang of it, as I said, you can do each photo in well less than one minute, and you only do this on your keepers, so it doesn't take much time.

Photo correction: too light and too dark

I have imported ~ 2,000 photos into Lightroom 5.6. The files are PNG format from MS Picture It. Some photos are too light and some are too dark.
I tried synchronizing the metadata thinking this would make the photos more alike. Some are improved, but I still have many that are too light or too dark.
Short of editing each photo, is there an easy way to make the photos more uniform in brightness.
Thanks

Try using Quick Develop in the Library where the adjustments are relative.
For example the inner pair of arrows for highlights or whites adds or subtracts in increments of 5 and the outer arrows in increments of 20. You can see the changes in the history panel by then going into Develop.
So rather than using sync in the Develop module which applies the same absolute setting to every image the changes in quick develop will be relative to the original condition of the photo.
Try experimenting by selecting a batch of thumbnails and applying Quick Develop settings.
Alternatively sort your images into batches using collections where the original lighting is broadly similar. Then select all (Ctrl+A) in each collection and apply the adjustments to each batch, until you get everything broadly similar.

Exported Jpeg's when sent to photo lab print too dark

I have had consistent results with exported jpeg images that look fine on my monitor (as raw files)and show in the histogram in lightroom 2.5 as the highlights just starting to clip as printing too dark when sent to a photo lab in SRGB. Is this a fault of my monitor? I have calibrated the monitor, a Dell S2409W, using charts on the website at http://www.normankoren.com/makingfineprints1A.html but this still happens. Will darkening the Monitor help or will the images still clip at the same point? I have been able to send a second image with the exposure and or brightness boosted a bit and they print brighter, but this is a pain. What is the best way to correct this so that I can see the same image as I get back from the lab?

hello henrykipson,
you said that you want starting an professional laboratory business,i can talking about this because i had a laboratory until some years ago .i hope that you made some artistic study,so it's more easy for you to learn this topic.you must study,an pass an examination for take an artigianal licence that allow you to open this activity ,the licence given you the opportunity to work either for sale photografic material either to shoot and developing,one time that you had pass this examination you must gone to the police autority and inform these of your business (is under police control.because you work with chemical material,and also because you had a reservate people information,and they must given you their assent.)after all you can start to buy a good developer and print machine beyond to have a dark room.for manual print.you must decided if do you want work in black and white or color.You can do both but is better to specialize by one of them ,like you want.
Remember from the digital events many people print his image at home,you must deciding maybe is better to work with a professional photographer,that can given you more work.itsn't easy.you must have a good preparation because ,they are more exigent.The good results depend also from the quality of your works.a good machine,good chemical product,good upkeep,of your laboratory.(in italy this is the procedure,i think also in other country,because is a ticklish question licence.)I hope that this my little explanation are useful to you.Good luck .
cheers alessandra minotti

EA3 - spreadsheet highlight still too dark!

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