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

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use a "random number" and compare for ">0.5" to get a (1 or 0) signal
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Message Edited by GerdW on 04-16-2010 08:15 AM
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Kudos are welcome

Trouble Matching Color Between Ps and Dw

I've generated a simple shadow around my page design in
Photoshop (the shadow blends into the background color via a soft
gradient). I've imported a small section of the shadow into
Dreamweaver and placed it in a special table cell to duplicate the
affect in Dw.
This is very simple. I'm using web-safe colors (#336699) both
in Ps and Dw. All artwork was created on my Mac Pro running Leopard
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When I test my design in Firefox it looks perfect. When I
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design up in Dw on the Windows machine (in the document window).
HOWEVER ... the colors do NOT match in the Dw document window
on my Mac. Nor do they match when I test the page using Safari on
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I'm perplexed. I'm somewhat new to Dw, but I've been using Ps
and Gl for a long time. I think I know how to match colors in the
workflow. I recently upgraded my Mac to 10.5.2 and I'm wondering if
this is a bug?
One other thing ... the pull-down menus in the Dw color
selection areas aren't always functional. Sometimes the color
picking windows will close leaving the pull-down menus
unresponsive. You have to hit the escape key to exit. If you are
very careful you can get the menus to work using the middle mouse
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Can anyone offer me guidance ... or has anyone else
experienced these problems in Dw? TIA.

In Photoshop, are you working in RBG or CMYK mode? RGB output
is the mode
for web graphics. What type of graphic are you using when you
Save to Web
As - gif, jpg or png? Jpg and png will give you better color
matching
control than gif. Gif is capable of producing only 216 web
safe colors (256
minus about 40 colors which are reserved by the various
operating systems or
are not rendered by browsers). Jpg and png can produce 16
million (24 bit)
Truecolor. If you are attempting to color match your web
graphics with hex
#color codes for backgrounds, then your best bet is to use
jpg or png.
http://alt-web.com/HexColorChart.shtml
--Nancy O.
Alt-Web Design & Publishing
www.alt-web.com
"anyoneSeenMaiTai" <[email protected]> wrote
in message
news:[email protected]...
> I've generated a simple shadow around my page design in
Photoshop (the
shadow
> blends into the background color via a soft gradient).
I've imported a
small
> section of the shadow into Dreamweaver and placed it in
a special table
cell to
> duplicate the affect in Dw.
>
> This is very simple. I'm using web-safe colors (#336699)
both in Ps and
Dw.
> All artwork was created on my Mac Pro running Leopard
(10.5.2).
>
> When I test my design in Firefox it looks perfect. When
I copy the site
folder
> over to Dw on my Windows XP machine and test in IE it
also looks perfect.
It
> also looks perfect when I open the design up in Dw on
the Windows machine
(in
> the document window).
>
> HOWEVER ... the colors do NOT match in the Dw document
window on my Mac.
Nor
> do they match when I test the page using Safari on my
Mac.
>
> I'm perplexed. I'm somewhat new to Dw, but I've been
using Ps and Gl for
a
> long time. I think I know how to match colors in the
workflow. I recently
> upgraded my Mac to 10.5.2 and I'm wondering if this is a
bug?
>
> One other thing ... the pull-down menus in the Dw color
selection areas
aren't
> always functional. Sometimes the color picking windows
will close leaving
the
> pull-down menus unresponsive. You have to hit the escape
key to exit. If
you
> are very careful you can get the menus to work using the
middle mouse
button
> (I'm using a wireless Mighty Mouse).
>
> Can anyone offer me guidance ... or has anyone else
experienced these
problems
> in Dw? TIA.
>

Matching color between a video and a photo in PS CC

Hi,
I am trying to match the color between a Video and a photo in Photoshop CC.
This works ok with the color matching tool. Image > Adjustments > match color.
However, it only matches the color of the 1st frame and no the whole video.
Is there a way to use the color matching tool to apply the adjustments to the whole video?
Thanks for the help
Regards.

Thanks for the quick reply
I don’t think I explained myself very well.
I want the video to match the Photo. Not to apply adjustments to the video and photos at the same time.
The Photos (raw) and video were taken at the same time with the same camera.
I have worked on the photos in adobe camera raw and saved them as tiffs.
Now I have opened up the video and tiffs in Photoshop and would like to match the new colors from the tiffs to the Video file.
When I use the match color tool, the Video and Tiff are the same color.
However Photoshop only matches the 1st frame of the video, the rest of the video is left in the original color.
My question is, how can I get the Match color tool to apply the color setting to the whole video?
So that the whole video is the same color as the Tiffs, not just the 1st frame.
Regards.

Matching colors 1 photo to another

II have to match a shade of "gold" that's more yellow than this copper look suggests to other shots in the series. Am going crazy trying to match numbers in levels, curves and/or hue saturation from one photo to the other; can get red and green right, but blue is way over and when I change it, the other numbers go awry. I'm working with CS4 on a MacPro. Have spent hours, feel like a dog gnawing on his tail. Suggestions would be enormously appreciated. Thank you.

Some people prefer not to make files with lots of layers and use the history brush instead and take snapshots so if that is the way you prefer to work the history brush is how you adjust certain areas or restore art or the image.
There might be a way you would prfer to work that is similar but different it takes a little getting use to but might help you.
Image>Adjustments>Match Color now since this is not a layer adjustment you either do the adjustment on a duplicate layer or you use the hitory brush to restore certain parts of the image which can actually also be done as fill command form the edit menu.
Say you wanted to restore the background to the original after you do your adjustments. So you do a selection of the background and the Edit>Fill>History and you since you can use that at a percentage it gives you quite a lot of control. Along of course with the History brush.
This is because some adjustments are not layer adjustments like Match Color.

Photosmart 8750 - how to avoid white edges on print? And how to match colors from monitor to print?

Hi all! I´m new here so I hope I ask this in the right forum. Please advice me if this should be in another sub-forum..
First: The white edges around my photos when printed:
I can´t figure out how to avoid the white edges when I print my photos.
If I print in A3 size (or any other size) there´s always the white edges around my photos on the print, and it´s really annoying.
I make the size in Photoshop (CS4 extended) so that the photo matches the size of the printing paper, but still it gets adjusted when printing so I get the white edges.
I either print directly from PS or from Windows Photoviewer. (I have Windows 7).
In PS in the printing dialog box it says Scale to fit media, when I tick this and also have the Show Paper White ticked, it appears that the photo goes exactly as the size is set, but then I can see a thin white edge on top of it, illustrating that the photo will be printed with a white edge on top. If I untick the Scale to fit media, the photo appears to be cut a great deal before printed, so this will destroy my image.
I usually print from Windows Photoviewer as the colours in PS turns out more different than when saved and printed from Windows. (My next question). In Windows Photoviewer I only have the option Fit to frame, but in the preview it doesn´t look like any of those two options will give a borderless print.
In the printers dialoge box for the Paper/Quality I only use the option for A3 HP glossy photopaper, but I see there are other options such as Photo without edges A3, but then the size says 423x303mm which is slightly bigger than the size of the photo.
Also there´s a box to tick under it, Print without edges and under it Automatic fit without edges.
Is it something here I should tick or untick?
What options should I use to get it to print and fill the whole paper?
Second: How to get the same colours on my print as it shows on my monitor?
I have tried figuring out this, but I gave up. Though I know there´s something about the Profile´s, just not how to set them..
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Instead of this nice warm "brownish" hue seen on my monitor, it´s printed with a greenish hue. Really annoying as I spend a lot of time working on my photos to get them as I like.
In the printer´s dialog box (in Windows) I have disabled the ICM colour management.
In PS dialog box I´m sure there´s something to do different under the Color Management, but I don´t know what.
Also there´s probably something different in my monitor´s profile that differs from the printer and PS?
Anyone who can help with either one or both of my problems??
That would be highly appreciated so thanks so much in advance!

HI Lisa91,
Here is a link to a post about the same problem you are having and the same printer. You may find the posts helpful as some were able to find a solution. Post number 6 and number 12 specifically have found solutions that worked for them. Hope this helps some.
If I helped you at all it would be great if you clicked the blue kudos star!
If I solved your post please mark it as solved to help others.
I'm a printer tech with HP.

How to match color on g4 ibook for projector or TV

I'm doing an on screen iphoto slideshow presentation for an upcoming event on a projector via VGA. We did a test run yesterday with my ibook g4 1.33 (OS 10.4.9) hooked up to a Viewsonic PJ-750-2 Projector. The color was awful. Tried a custom calibration with no success.
The color issue looked the same as when I make a slideshow DVD to view on a TV. Horrible yellow cast and and over saturated.
When I got back home, I was curious to see how it would look if I hooked the ibook up to a television, via RGB with an Apple video adapter. The images looked exactly the same as on screen through the projector. Horrible color, and over saturated.
I'm guessing I really need to do a custom calibration? If I don't succeed in that respect, I can always edit each image while viewing on TV, but that's the long way. Is there another common issue that I'm not aware of?
I'm a newbie at using external displays, and have my ibook display custom calibrated for print publications that I work for using Photoshop CS2. The files that I send them match perfectly when I see them in print.
Also, any suggestions on projector display resolution and refresh rate?
Thanks in advance for any suggestions. I've search the forums, but didn't find an answer. Any additional advice is welcome.
ibook g4 1.33 Mac OS X (10.4.9) Emac g4, imac g3, powerbook g3

Yellow cast and oversaturated sounds like a bad cable connection. Tried cleaning both ends? Checking broken pins?
also try resetting pram, nvram, etc.
try selecting default mode on the displays
OSX provides pretty good default profiles for most displays.

Matching Color Between 2 Images

Selective Color Matching
Open the image with color you like.
Make sure your Info Palette is visible.
Select the Eyedropper Tool.
Look at the Options Bar, and set the sample size to 5 x 5. This will give you a good average color from a sample size larger than just one individual pixel.
Hold the Shift key, and you'll see that the cursor changes. This signifies that you're ready to lay down a Color Sampler. Find a good spot to sample the color you want, and click there. You may lay down up to 4 Color Samplers in each image.
Look at your Info Palette and you'll see that it has expanded to now include a pane (or panes) that display(s) the color component make-up of the spot (or spots) where you dropped a Color Sampler (or Samplers). In that pane you'll see a tiny little eyedropper icon, right below the "#1". Click and hold for a drop-down menu. Change the read-out to CMYK. This won't change the color-mode of your image, so don't worry about that. It just makes the following steps more intuitive.
Write down the values for C, M, Y, and K.
Open the second image in which you want to match the color to a similar color in the first.
Now, for one of the most important parts of the process:
Make an accurate selection of the areas you want to adjust. Save it as an Alpha Channel (Select---»Save Selection...New Channel) just to be on the safe side, and save your changes to the document.
Using the Eyedropper again, Shift-Click to drop a Color Sampler in the new image, in an area that is similar in brightness as the sampler in Image 1.
Change the readout of this new sampler to CMYK.
With your object still selected, go to "Image---»Adjustments---»Selective Color..."
Choose a color in the drop-down menu that is as close as possible to the color of the area you want to adjust.
Now, while you keep an eye on the Color Sampler pane in the Info Palette, adjust the sliders in the Selective Color dialogue. You'll see the numbers change in the Info Palette. The numbers to the left of the slashes (/) are the "before" readouts, the numbers to the right of the slashes are the "After" readouts.
Play around adjusting these Selective Color sliders until the "After" numbers for the second image Color Sampler match (or get really close to) the C, M, Y and K values you wrote down for the Color Sampler in the first image.
Sometimes you'll need to work the sliders for more than one of the Selective Color drop-down menu colors. I usually start with the drop-down choice of "Neutrals," because it often allows me to do most of the correction there...lots of bang-for-the-buck. Also, you may need to make Selective Color adjustments, hit "OK" and then call the Selective Color dialogue up a secondperhaps even a thirdtime.
Just match the "After" numbers for Image 2 to the Before numbers that you wrote down for Image 1.
There are other methods for doing this, but this is one of the easiest ways.
Keep in mind that the changes you make are destructive (i.e.: not reversible after you save and close the document). Because I trust my abilities, I know what I can get away with, and I'm usually satisfied with the results. If you have any worries about making permanent changes, just duplicate the layer you want to work on so you can go back to the original color if you need to.
When you're finished, you remove the Color Samplers by again selecting the Eyedropper tool and (Shift+Option) [Shift+ALT] clicking (see the scissors cursor?) on the Color Sampler icon (s) in the image window.

interesting,

Not sure how to match color more closely...use Pantone?

HI,
I've done everything possible to get a certainly red color I want in my ID manuscript, from setting color profiles, snyching across applications, monitor calibration, soft-proofing etc.etc etc. What I see on my monitor with the publishers profiles is NOT what I'm getting on my printer (R1900). I guess that's to be expected.
The publisher has it's own CMYK profile for their printer so i can't use theirs. There are so many different ways to configure printer management from letting ID manage color, using various Epson settings....all this stuff. Even if I get the color right on my printer, that doesn't mean it'll match the publishers, so why even try to get it right on my printer?
Actually, my document may even print fine with the publishers. Not being able to have more reassurance of the publishers outcome leaves me queasy! But I guess I have to play my hand.
So is the only way to know is wait for the hard copy? what about using Pantone? I don't know anything about that, but aren't they for spot colors, or at least I could find something closer that way. If there is a color I like, use those numbers rather than the ones I am.
Ideas?

Color management is an attempt to put into play .icc color profiles. This starts in your application's color settings. But, working with your print vendor is the best policy in preparing your files and getting what you want consistently. The Epson R1900 is a photographic printer. It is not an inkjet proofing device like an Epson Stylus Pro 3880 with a Colorburst RIP. I sense that, because the R1900 is not backed up with a RIP, you'd benefit from "Let InDesign determine color". However, the print driver is responsible for interpreting the information supplied from the application in an attempt to convert that info to an actual print. The challenge for you and your applications, along with your hardware limitations, is to give you a reasonable "red" that you are looking for. In short, you would benefit from assigning a Pantone Spot color for the specific Red you are looking for. The only problem is getting that Red to print on your R1900. And, the only way to get that to happen is using CMYK equivalents which you have been wrestling with. In a RIP ( Raster Image Processor ) scenario, you would use the printer's profile in the Print setup dialogs. Let's assume they are using "SWOP Coated v2 Sheetfed". You would assign that profile in your application's Color Settings under CMYK Workspace. Then, in your "Print" dialog, you'd set the same profile in the CMYK print space. But, in a RIP scenario, you'd let the RIP determine color rather than the application. That's the value of a RIP over a photographic printer where color matching is not a priority. It sounds like you'd benefit using a Pantone Spot. If you decided to use a Pantone Spot Red in your document, you would need the RIP and Proffer to produce an accurate color matched conversion in the Print process. With your current setup you will get mixed results from your print vendor. In any case, at a minimum, you should get a contract proof before you approve the project for press. This will give you an opportunity to adjust the CMYK equivalents or finalize a decision to go Pantone Spot before the job is ultimately printed. Now, again, a Postscipt Level 3 RIP matched up to a professional printer/proofer will convert your file's assigned Pantone "Red" Spot color and, in the case of the Epson Stylus Pro 3880, the printer will use it's 8 internal ink sets to produce a relatively close match to your Spot color.
"I've done everything possible to get a certainly red color I want in my ID manuscript, from setting color profiles, snyching across applications, monitor calibration, soft-proofing etc.etc etc. What I see on my monitor with the publishers profiles is NOT what I'm getting on my printer (R1900). I guess that's to be expected."
Yes. Get a hardcopy proof instead of relying on the R1900.
"The publisher has it's own CMYK profile for their printer so i can't use theirs. There are so many different ways to configure printer management from letting ID manage color, using various Epson settings....all this stuff. Even if I get the color right on my printer, that doesn't mean it'll match the publishers, so why even try to get it right on my printer?"
It would help, if you continue to do this type of work, to get a desktop proofer like the one I've mentioned in my post. You want to "try" to get color matched output so that you are communicating what it is you want before getting to the printer, especially if you have an internal approval process you have to go through.
"Actually, my document may even print fine with the publishers. Not being able to have more reassurance of the publishers outcome leaves me queasy! But I guess I have to play my hand."
Not necessarily. Get the proof. You do not want 200,000 copies of your manuscript floating around out there with a rose pink instead of a flaming red.
"So is the only way to know is wait for the hard copy? what about using Pantone? I don't know anything about that, but aren't they for spot colors, or at least I could find something closer that way. If there is a color I like, use those numbers rather than the ones I am."
Yes. A Pantone Spot color is actually a very smart decision. And your InDesign document must be setup using that Spot color, not CMYK. For instance, let's say you settle on Pantone 206C for the cover and Pantone 206U for the uncoated text pages ( if any ). It's a simple 2-color job. Black + Pantone 206. If you want to print the file on your R1900, then you will convert a swatch using 0%C, 100%M, 30%Y, 3%K in a COPY of your Spot Color file. Send the Pantone Spot Color file to the publisher and keep the COPY in your folder for reference if need be.
This is my recommendation and I know it will work for you. Should the publisher insist on using a CMYK color mix, let them do it and supply you with a hardcopy proof before it goes to press. This is avery important no matter what you decide. The proof is very important part of the entire process.

How to match impedance between AT-MIO-16 and 50 Ohm output of preamp

I am trying to count TTL signal from a preamplifier/discriminator (ARI Corp's MTS-100) using the AM9513 chip built into the NI AT-MIO-16 A/D board.
With only power to the preamp (i.e. no input signal) I get ~150,000 or so counts per second, while with a different rate meter I get normal 5-10 counts per second. These excess counts would seem to be caused by an impedance mismatch leading to ringing in the line from the preamp to the A/D board.
The TTL output from the preamp has an impedance of 50 Ohms, minimum pulse width of 10 ns. I use a coax cable with impedance of 50 Ohms that is terminated with a 50 Ohm cap just before going to the connector block for the A/D board. Bottom line, I match the imp
edance as well as I can and still get reflection. The detector,preamp,A/D board,computer,etc are all tied to the same ground. The discriminator level has little or no effect.
Could I be connecting to the connector block of the A/D board incorrectly? Is there a threshold adjustment available for the Source (i.e. Vhigh) that might be set too low?
Is this hopeless? Or are there other things to try?
Any help would be appreciated.
Thanks,
sonnymoon

Ben on 7/25/2002 answered:
"Hi its me again.
Can you see the ringing with a scope?
What exactly are you using to get the counts from the board?
Are you sure you are re-setting the counter and have the clock configed to come from your external signal?
Ben
Hi Ben,
Thanks for your help on this. I have tried using both Labview software and NI Measurement and Automation test panels. I remember trying to figure out how to address the counter correctly using Labview "Counter Start", "Counter Read", "Counter Stop" VI's. Perhaps you could confirm for me, I am putting the signal from the preamp into "Source 1" on the A/D connector board, and I use "GPCTR1" to identify the counter.
Does the "Counter Stop" VI reset the counter? I was as
suming it does. If not, how do I do that?
But, using the NI Measurement and Automation test panels, selecting "Simple event counting" and "GPCTR1" I see lots (100,000's) of counts pile up in 1 second when I should only see 5-10.
I haven't checked with a scope (we don't have one in our lab!) but I may try to borrow one to confirm it is ringing.
My basic set up is as follows:
BNC (50 Ohm) from preamp TTL out to BNC T adapter with a 50 Ohm Terminator cap.
Signal lead from BNC plug to PIN 41 (Source1) of AT-MIO-16 I/O connector. Ground lead to PIN 24 (DIG GND) which is also grounded to be the same as that of the preamp and dectector.
Thanks again for your help,
Joel

Color Settings: Getting colors in PS CC to match colors of the image when used as a Windows Background

or vice versa. I probably do not know enough to be able to ask the question properly.
The colors of photos in PS CC are not the same when used as a desktop background in Windows 7. The colors are somewhat more saturated when as a background on the desktop and while not totally unusable, it would be nice to have matching color between my PS editing screen and the photo as viewed as a desktop background.
The following are some conditions that may or may not be relevant to the answer of my following question.
1.) I am a complete novice to Color Management so a presumption of knowledge and the heavy use of jargon may not penetrate my head.
2.) I shoot with sRGB embedded in my photos.
3.) My RAW conversions use sRGB IEC61966 - 2.1.
4.) My PS Color Settings are North American General Purpose 2 with sRGB IEC61966 - 2.1 as the working space and Intent as Relative Colormetric
5.) In the Win 7 Control Panel>Color Management>Device, my Device = NEC LCD2690wuxi, ICC Profile = NEC LCD2690wuxi (default), file name = nl269wui.icm
6.) In the Win 7 Control Panel>Color Management>Advanced, Device profile = System Default sRGB IEC61966 - 2.1 and (everything else set to System Defaults too). The only difference from the PS Color Settings being that Windows is defaulted to Perceptual Intent, but a change in either PS or Win 7 has no effect on the relative color differences.
7.) The monitor is set to the Native internal preset, but the relative differences in color remain the same even if the monitor is changed to sRGB, or any other internal preset.
8.) I have Proof Setup set to Monitor RGB but none of the settings will match the Win 7 Background color.
Now, my question is this. How would you set up your color settings/profile in PS and/or Windows to match color between PS and the Windows desktop of Windows 7?

Nevermind. I didn't have Proof Colors checked.

How can I get all photos from the camera roll onto the photo stream so they will share between iphone and ipad?

How can I get all photos from the camera roll, and all new pictures taken, to get on the photostream so they can share between iphone and ipad?

When turning PhotoStream on with photos available in the Camera Roll, only photos captured by the iPhone or saved on the iPhone are placed in the PhotoStream.
For all photos that were in the Camera Roll prior to turning PhotoStream on, import the photos with your computer and add the photos to your PhotoStream on your computer.

How to avoid white color in photo taking in iphone 4s at night with flash?

how to avoid white color in photo taking in iphone 4s at night with flash?

HI Lisa91,
Here is a link to a post about the same problem you are having and the same printer. You may find the posts helpful as some were able to find a solution. Post number 6 and number 12 specifically have found solutions that worked for them. Hope this helps some.
If I helped you at all it would be great if you clicked the blue kudos star!
If I solved your post please mark it as solved to help others.
I'm a printer tech with HP.

Is there a tutorial on how to achieve Black/White photos with color details?

I am newbie with learning photoshop, Is there a tutorial on how to achieve Black/White photos with color details? similiar to this photo?
thanks

Type exactly that "black white photos with colour details with Photoshop" when searching online and you will find many examples on how to achieve this effect.
Examples:
Photoshop combining color with black and white - A non-destructive method - YouTube
How to Create Color Splash Effect | Adobe Photoshop cs5 - YouTube

How to set a thumbnail photo in Azure AD? Sync thumbnail photos between Exchange Online and Azure AD?

We're interested in downloading the thumbnail photo for users in an O365 tenant using the REST API, but we're stumped regarding how to set a thumbnail photo for a user in Azure AD. We haven't found a way to do it via the user interface and it doesn't
appear to sync between Exchange Online and Azure AD. The only sync reference we've been able to find is between Windows Server AD and Azure AD which is not applicable in our use case?
Any pointers on how to get the thumbnail photo set?

Greetings!
You may use the sample (Malar has shared above) which helps how to query Azure AD using the Graph API, demonstrates additional REST functionality to Get and Set User Details, including thumbnail photos.
Would like to add:
http://matthewyarlett.blogspot.co.uk/2013/08/add-or-update-user-profile-picture.html
You can use the AD module for PowerShell for getting / setting the AD user.
Would like to re-iterate that there are constraints on the sizes and formats supported for the
thumbnailPhoto Active Directory attribute. As a general guideline, keep your images to 96x96 pixels and under 10Kb, using JPG format.
Thank you,
Arvind

How to match colors between 2 photos?

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