Lightroom 5.5 and Color Checker Passport

have found out the problem with not being able to export images. If I create and use a color profile using Color Checker Passport it will not allow the images to be exported using 'edit in' if I use a standard Adobe profile then it will export as normal....

Mine Edit In PS 2014 in either case. When you say “will not allow” do you mean PS never opens or that PS opens but the image never does?
I wonder if there is a permission problem on the custom-user-profiles folder that such non-Adobe profiles are stored in.

Similar Messages

Custom Camera Profile List (Color Checker Passport)

Hi
I am new to Lightroom 4.3 and have a question regarding Custom Camera Profiles. I have created custom profiles using Color Checker Passport for sunny, cloudy, flash, tungsten etc but would really like to create one for most shoots. I thought it would be a good idea to name it say "Temp" and overwrite each time so that I dont end up knee deep in camera profiles. But I am guessing if I do this will the latest saved version of "Temp" change the camera profile of all other previously saved versions of "Temp" from other shoots?
It would be good if the saved version of "Temp" resided within the folder of that particular shoot only.

twenty_one wrote:
In fact I'm amazed at how good the Adobe Standard profile is (Nikon D300/700) - I have never been able to improve on it for sheer accuracy.
ColorChecker Passport profiles I created for my Canon 5D MKII, 600D and 300D bodies looks better than the Adobe Standard profile, with both set to the same neutral white balance. This includes both single-illuminant and dual-illuminant profiles.
Take a look at the below images which were adjusted in LR using normal adjustments for a "picture" image, and not adjusted as a test chart. The Deep Blue and Purplish Blue patches have a slightly different hue and are more saturated on my non-wide gamut display. I'm sure they would look even more different on a wide gamut display. The ColorChecker profiled image looks closer to the actual ColorChecker when compared side-by-side. Some of the other color patches also have more saturation, which again appears more accurate.
I am certainly no "expert" on color management, but do have over 40 years of film, color darkroom, and digital imaging experience. To me the ColorChecker profile image looks better and more accurate than the Adobe Standard profile image, and that's just my opinion. Maybe it's something unique to Adobe's Canon profiles, but I have no Nikon equipment to test this assumption.
Concerning the OP's creation and use of multiple "sunny, cloudy, flash, tungsten etc. profiles," I did the same thing when I first used the CC Passport. And you're correct that for normal sunlight pictures only one (1) profile is actually needed, with changes made to white balance for the different conditions. But there is nothing wrong with creating multiple profiles and saving them with their matching white balance settings as a Develop preset. Disk space is cheap and IMHO LR simplifies the process and organization of presets, just as Rob Cole suggested.
I would suggest further that under some natural lighting conditions white balance alone may not totally correct the image. Examples would be high-altitude, early morning and evening low-angle sunlight, etc. Of course this begs the question of how much should you actually "correct" these images – It depends on the purpose, such as artistic versus clinical usage, or a balance of both.

Need help using color checker passport with photoshop CS6

Hello all,
I'm having an issue using the Color Checker Passport with Photoshop CS6. Here's my configuration:
Mac Mini using OS 10.8, but very recently updated to 10.9 (Mavericks). My problem is the same on either OS version.
Photoshop CS6 ver 13.0.6 64 bit extended
Adobe Camera Raw 8.4
X-Rite Color Checker Passport ver 1.0.2
Canon 70D shooting RAW in sRGB color space
NEC Multi-Sync LCD monitor calibrated with Spyder 3 Pro ver 4.0.5
Now here's the issue. I go through the recommended workflow and generate a profile with no problem. Then in Camera Raw (after restarting all applications) I apply the profile to a photograph and instead of getting a nice color-corrected image my image has a greenish-yellow tint to it. It's very noticeable and I haven't been able to figure out what I'm doing wrong, if anything. I re-calibrated the monitor, re-did the workflow with other pictures, but still get the same result.
I greatly appreciate any help or ideas on how to remedy this. I've sent an inquiry to X-Rite via their Support Web Page, but haven't heard back from them yet.
Thanks,
Kevin H.

Hello all,
I'm having an issue using the Color Checker Passport with Photoshop CS6. Here's my configuration:
Mac Mini using OS 10.8, but very recently updated to 10.9 (Mavericks). My problem is the same on either OS version.
Photoshop CS6 ver 13.0.6 64 bit extended
Adobe Camera Raw 8.4
X-Rite Color Checker Passport ver 1.0.2
Canon 70D shooting RAW in sRGB color space
NEC Multi-Sync LCD monitor calibrated with Spyder 3 Pro ver 4.0.5
Now here's the issue. I go through the recommended workflow and generate a profile with no problem. Then in Camera Raw (after restarting all applications) I apply the profile to a photograph and instead of getting a nice color-corrected image my image has a greenish-yellow tint to it. It's very noticeable and I haven't been able to figure out what I'm doing wrong, if anything. I re-calibrated the monitor, re-did the workflow with other pictures, but still get the same result.
I greatly appreciate any help or ideas on how to remedy this. I've sent an inquiry to X-Rite via their Support Web Page, but haven't heard back from them yet.
Thanks,
Kevin H.

Color checker passport vs Macbeth color checker

I recently purchased the x-ritecolorchecker passport. In the past after i finished shooting my projects, I would shoot few shoots in different f-stops with the Macbeth color checker, and later i would pen the Macbeth shots from the Camera Raw, and i would click on either gray or white for the white balance. Also some times i would use a Gray card, and it worked fine.
Now i purchased the color checker passport, and i would like to know if i am doing the job correctly or not. From what i heard, what i need to do is:
1- shoot from the color checker passport after finishing my project
2- From the Adobe DNG Converter convert the .CR2 file to .DNG
3- Open the color checker and Drag and Drop the .DNG file into the colorchecker.
4- Save the .dcp file into my camera raw profile.
5- from the camera raw calibration Tab,instead of Adobe Standard profile, or any other profiles change it to the .dcp file that i created from the color checker passport
6- from the camera raw Presets,with the eye dropper tool select a gray or white area, and save it for my white balance
7- Apply the white balance to my shoots.
The question i have is why do i need the passport, if i can do the same thing with Macbeth card ?
please let me know what i am missing.
Thanks
Simon

Any help please
Thanks
simon

Color Checker Passport W/Elements 12 No/Yes? Light Room?

Yes, I'm at it again with my seemingly endless questions, sorry.
Probably buying, ( no, defintely if compatible,) the X-Rite Color Checker Passport program. I am having difficulty ascertaining definitevly, if the Color Checker program will be FULLY functional with Photoshop Elements 12 without the Light Room program?
I have read the X-rite manual on line and at first there is mention that indicates it is compatible with Elements, but later in the manual it talks about function and proceedure that only mentions Light Room and NOT Elements. Does this mean I need Light Room to perform these particular steps or are they assuming that I do have Light Room if I am at the point these particular steps are being performed? Does this question make sense?
I have so many photo editing and processing programs now I don't know why I would need another but if I have to buy Light Room too, I will.
Look forward to your responses,
P.

Hi hatstead
I was initially thinking the same thing as well. If I can't get the image I want in my own capture I will have to think about a professional. But from many sources I have read that the Passport tool, which is only $99, makes post processing much more effective.
I have tried adjusting the picture that has started this whole purchase of equipment process, with the wonderfully helpful hints from you and many others. This particular picture will not come out to my satisfaction. It looks very nice with many of the things I have done to it and as I have said before, if I were just selling it as a print and not concerned with depicting the ACTUAL ORIGINAL work, I'd be satisfied. Heck, I have even considered creating a series of some of my paintings with different effects and colors for offer as prints. I did this with a photograph of mine and I love the results.
If it were just this one painting I was concerned with I would probably take your suggestion. But I plan on creating more canvases and I don't want to go through this again and I like the idea of controlling my own work flow for multiple projects.
From what I understand, the Color Checker will save me time with more complicated editing techniques. Because my paintings have so much color in varying hues, tones, tints ,etc. throughout the canvass, selecting and adjusting is very difficult for me. Especially when you take into account the depth of the paint on the surface and the texture of the canvass beneath.
I have been working with the program since November as you might recall, and finally got to a comfortable point for dealing with photographs of actual objects. I believe you helped me with some of those issues, . And probably users with many more years of experience might be able to utilize the PSE program to conduct PP on canvas paintings but I need to be able to post the images of the canvasses sooner rather than later. "Time is money..."
If I have the Color Checker Passport I should be able to take advantage of "minor PP" with Elements 12, at least that is my goal.
The Light Room software may be within my financial means as well if it is required. Do you know if it is required to operate Passport with Elements?
Always thankful for your input,
Regards,
P.

Lightroom print mode and Color mode grayed out

Both print mode and color mode selections are grayed out not allowing me to select them. Help

I see you haven't gotten much input so far from the Mac experts...
As a Windows user without an Epson printer myself, I can't comment on why you might have color problems under the covers where the software doesn't seem to be following the chosen settings. However, perhaps I can get you thinking about how to further diagnose the problem...
The obvious thing I see is that you've chosen "Photoshop Manages Colors" in the main dialog, which implies your intent is to shut off color-management in the printer driver itself. So to me the graying out of those settings in this case seems to make sense.
Have you tried a test print using the "Printer Manages Colors" setting?
Also, to try to test whether color-management isn't being turned off in the printer (regardless of what the grayed-out settings show), do you see any improvement if you use "Photoshop Manages Colors" but choose a standard profile, such as sRGB IEC61966-2.1 for the Printer Profile setting?
-Noel

Lightroom,Nik plugins and color spaces

I'm having an issue and not sure who is holding the smoking gun. I have the Nik ultimate collection installed which covers Lightroom and Photoshop CS5 extended. I work primarily in Lightroom and apply most corrections globally but occasionally i need to do localized adjustments so the photo gets shipped off to Photoshop. Here's a typical scenario:
1) From Lightroom edit in Dfine 2.0 for noise - as copy with Lightroom adjustments which gets copied as a tiff.
2) From Lightroom edit in Viveza 2 - as original since we're now working with a tiff and I don't want a copy for every single thing I'm doing.
3) Edit in Photoshop
Now there's two issues at this point:
1) The edits do not show up in the Lightroom history - it's like nothing happened.
2) Photoshop will complain that the assigned profile is sRGB. Really?
#1 is a PITA because if I want to rewind I have to start all over since there's no history - what exactly is responbsible to set an edit as history? Lightroom or the plugin?
#2 is by far the most serious as it degrades the work in a seriously bad manner. I mean, WTH - I'm moving along in ProPhoto Ferrarri space and all of a sudden - *boom* - I'm running in sRGB moped mode.
I looked at edit->Preferences->External Editing -> Additional External Editor and indeed when I select the Nik plugins from the combo box preferences the default for the plugins is sRGB. I can change to ProPhoto and quit. I repeated this for each plugin assuming that somewhere the setting was remembered. Nope LR acts dumb as a rock and shows sRGB as the defaults for all except the currently selected plugin.
So my questions are:
- who's gonna own up to the problem - LR or Nik?
- how can I work around it?
- how can I make LR remember the settings? Not a registry key nor INI file in sight to set them - so where/how are the plugins tracked?
Thanks for any help!
Jon

Jon,
The User Interface for changing how external editors are invoked is about as smart as your average chunk of granite.
After you change the Color Space to the one you want, you have to click on the Preset box and choose "Save current settings as new preset...". Not exactly intuitive, but there you are.
Hal

Color checker profile (in lightroom) only work for JPEG file?

I followed all tutorials for color checker-lightroom and succeeded to sync my JPEG images into the camera profile I want.
However, these are JPEG images from the camera. I want to work with raw file or at least PSD file.
So my retouch pipeline was:
- opened my raw file
- save it as PSD
- back to lightroom and open it there
- and intended to sync this PSD file image with the camera profile
But this is impossible to do, because suddenly all the camera profile options (the ones we generated via color checker passport and the default adobe profile) are dissapeared. The only option of camera profile now is "embeded".
That's it. So does it mean that I have to convert my raw file into JPEG first ?
If yes, it's very unpractical and I can loose a lot of data bcause I thought saving it to PSD or TIF keep the image data better than into JPEG.
Confused..
Thanks for your point of views.

In LR Preferences / External Editing you can control things about the LR-to-PS transfer: the file format (PSD/TIFF), the color profile (sRGB, AdobeRGB, ProPhotoRGB), and the bit-depth (8 vs 16).
My Edit-in-Photoshop is set to use PSD, ProPhotoRGB, 16-bit. I have chosen this because it gives me a large colorspace, with millions of distinct colors and a file-format that can contain smart-layers and other Photoshop-specific things. LR, itself, is using a color-sapce as large as ProPhotoRGB and I don’t want to lose colors just because I’m editing in Photoshop, at least not until I’ve finished my adjustments in PS.
A large colorspace with millions of colors gives more freedom for extreme adjustments before color banding (posterization) or color-shifting (channel clipping) at the bright end of the histogram. The downside is that before I can save my photo as JPG for general viewing is that I need to set PS / Edit / Convert Profile to sRGB and PS / Image / Mode to 8-bit.
It sounds like you are saving your photos as 8-bit ProProtoRGB not realizing you also need to convert to sRGB as your color profile. For browsers and operating-systems that don’t do color-management correctly, which is most browsers and Windows-halfway, your ProPhotoRGB color numbers in the JPG are being interpreted as sRGB which makes them much duller and less saturated. It may be that you have your External Editing set to 8-bits, which is not a good idea if you are using ProPhotoRGB as your colorspace, so set it to 16-bit.

X-rite color Checker Folder Path

I am a photo assistant based in Montreal I'm having issue with X-rite profile location in computer folder...
We did create a custom profile with color checker passport during a shoot, re-starded Lightroom then used the custom profile. From there, everything work fine!
My Problem is that after several shoot we have so many profiles in the list (in Lightroom) so we want to delete some manually in the laptop folder. I have been searching over forum during the past 2 days...every forum say that the good path to see them is:
Library/Applications Support/Adobe/CameraRaw/CameraProfiles/
But, iI can't see them in this folder...
My question is: Where did they go and how can I delete/manage these? cause right now we have too much profile in Lightroom profile listing.
We using a Macbook pro laptop (2014) with a 5d mark III
Thanks in advance, Pascal

Non-Adobe profiles reside under your Users folder. See the following page:
http://www.lightroomqueen.com/articles-page/lightroom-5-default-locations/

RE: Color Checker

Hello Every one I have a question please and I appreciate it very much if you could help me.
I was watching a Tutorial on Color Checker and I want to make sure I am doing it Correctly.
I shot some pictures, and I also shot a picture from a Color Checker with the same Lighting.
Before I shot the pictures I shot a gray card and I used Custom White Balance."" Canon 5d"""
I Imported all the pictures and the shot from the Color Checker. I clicked on File- Export preset- Color Checker passport and I did saved the profile . I did restarted Lightroom, and Inside Profile, I named and saved the profile.
And I Sync it to all my Images. Later I Exported all the Images as DNG.
When I watched the Tutorial, It showed, after you saved your profile you must pick the Eye dropper and click on one of the white or gray color swatches inside the Color checker to get the correct white balance. and later apply that profile to all your images.
I don't know if this is correct or not, Because If Lightroom already created a profile from the color checker why I have to get a white balance again.
Also when I open my DNG Images inside Camera Raw do I need to apply any white balance or I should leave it as Is ?
Once again thank you very much for all your helps in the past.

I deleted my first reply to this message because it was based on your initial version of the post that didn’t have any tutorial links in it, yet.   Had those tutorial links been in the first or second message it would have saved a lot of back-and-forth.
Having seen what your questions relate to, I’ll try to answer your questions:
Question 1: “Should I eyedropper-WB the CC image before or after exporting it?” This refers to the Export using the CCPP export preset that creates the custom color profile based on the CCPP image.
You can eyedropper the WB of the CC photo before Exporting it but you don’t have to. I do eyedropper my CC image before creating the profile so I know what WB the profile is being created for. This is useful to me in naming my profiles as well as useful to see if I’m creating a redundant profile, one that I’ve created for very similar lighting from a previous photoshoot. I initially created maybe a dozen custom color profiles based on different lighting scenarios and I still shoot a CCPP when I think I might be in novel lighting, but I rarely create a new custom profile because the lighting scenarios are pretty much covered by my previously created profiles.
As far as eyedroppering after, you do need to eyedropper some neutral color somewhere in your images to synchronize the rest of the images to but this is not related to the process of creating the custom camera profile despite the two things being shown back-to-back in the first tutorial, it is related to wanting your WB to be right regardless of whether you’ve just created a custom profile or not. If your CCPP image is large enough then you can use the next-to-white patch as an eyedropper WB neutral area. If you are shooting at more of a distance then maybe use a larger neutral target such as the other white-only CCPP page.
The first tutorial also shows how to tweak the WB a little by eyedroppering on the slightly bluish patches to warm on the portrait photo or by clicking on either the slightly more green or slightly more magenta paths to warm up or cool down a landscape shot. This is not setting the initial WB, it is tweaking the WB or adding a slight color cast to warm up or cool down your images. I don’t use these WB-tweaking patches at all but in a tutorial about how to use the CCPP it is good to show them being used so you can understand what everything is for.
Question 2: “If I export as DNG and open that DNG in PS-ACR, do I need to eyedropper-WB, again?”
The answer depends on if your DNG already contains the development settings you applied in LR or not. If it does, then the WB you set in LR should get picked up and used so no need to WB, again, but if upon opening your DNG in ACR you see the default WB such as As Shot when you know you’ve applied a custom WB in LR, then you probably need to figure out why the LR WB isn’t transferring over, rather than redoing the WB in ACR. If you are using a plain raw file and not a DNG, then the LR settings can be saved into an XMP sidecar file next to the raw file of the same base name.   Those XMP files can either be created automatically if you have the preference set to do this, or can be created explicitly with a Save Metadata to Files command from either a right-click menu or using the Metadata menu item.
Are you asking this second question because you’re not seeing the custom WB set in LR carry through to ACR?
Some more comments about the tutorials. I wouldn’t stand so close to my model to shoot a custom WB because I’d be concerned I was blocking the light and changing the ratio of ambient to flash and therefore change the color temperature by standing so close.
Another issue with at least one of the tutorials is that when they are synchronizing the WB across multiple images they are leaving too many other checkboxes enabled. If I was merely trying to synchronize WB then I’d probably enable only the WB and Calibration checkboxes.
My suggestion about what to do for each lighting change is to shoot a CCPP, a CCPP-neutral page, and maybe set your camera’s custom WB to that CCPP-neutral page.   After importing the images into LR eyedropper either the CCPP or the CCPP-neutral page and then synchronize the other photos in the same lighting as those to the reference image. Once you know what the WB is, then scan your lists of existing custom color profiles for one that is close. If there is then use that custom profile, otherwise create a new custom-profile. Now you see why I want to put the WB numbers as part of the name of the profile, so save myself some work and clutter if I really don’t need to create another profile because one already exists. TO summarize, you don’t necessarily need to create a new custom color profile for each lighting change, but you do want to re-WB a reference and re-sync that to the others in the same lighting.

Hi can anybody help please. I am having terrible problems trying to use my Nikon D7100 to tether. I have downloaded the latest Lightroom updates and also checked my firmware which is also the latest avaiable and still Lightroom wont detect my camera!

Hi can anybody help please. I am having terrible problems trying to use my Nikon D7100 to tether. I have downloaded the latest Lightroom updates and also checked my firmware which is also the latest avaiable and still Lightroom wont detect my camera!. When I use a friends Canon camera it works every time!

Hi Keith thanks for your reply I have Lightroom 5.7.1 64 bit and my Nikon's firmware is version 1.02

I updated Lightroom 4 yesterday and it won't download my photos. Is there some way to check if the camera supported?

I updated Lightroom 4 yesterday and it won't download my photos. Is there someway to check if it supports a Nikon Cool pix P6800?

Here is the list of what version of Adobe software you need, at a minimum, to work with each camera they support:
http://helpx.adobe.com/creative-suite/kb/camera-raw-plug-supported-cameras.html
I am not familiar with a Coolpix P6800. A P7800 requires LR 5.3 or higher, so wouldn’t work with LR 4. There is an S6800 that was announced 4 months ago that I don’t see produces raw files to be supported or not by LR.

Color Checker And White Balance

Hello Everyone.
I usually have a shot from my Color Checker and create a Profile for that Day of shooting.
I have Two choices.
1- Click on the Gray Color of the Color Checker for a White Balance, and then Export the color checker as a DNG, and create a profile.
2- Create a DNG from the Color Checker shot, and Later apply the White Balance.
In other words, when you open the Color Cheker in the Camera Raw, It Is a Flat Image. If I create a white balance from the Color Checker
and then, Export it as a DNG to create a Profile Is It more Accurate ?
Dose It make any different ?
NOTE:
I get a better White Balance shooting either the Gray color from the Color Checker, Or a 18% Gray Card, rather than shooting a white color of Color Checker
or Shooting a white paper.
UPDATED:
I was reading this article that you should Aim the Gray-Card one third of angle between Camera and the Main Light or sun.
It says If you hold it flat next to your object It is Wrong.
Is this also how you should Aim the Color Checker One third of angel between Camera and the Main Light ?
Please read this article.
What's a Gray Card and Why You Should Own One
Also this Article Is opposite of the top
Using Gray Cards
Thank you very much For All Your Helps.

In your initial post you seem to be asking if it makes a difference whether you set the WB on the DNG you create your color profile from or not. I don’t know that it makes a difference in the color profile but it should be easy enough to test experimentally, by making two DNGs from the same raw file, one where you’ve set the WB to as low as it’ll go, and one where you’ve set the WB to as high as it’ll go, and make a profile from each and see if you get a different look based on which one you use or not.
Then you talk about which gray patch on a color-checker is better to use for WB, saying you don’t use the white one, but one that is grayer. My idea is to use whatever patch matches the brightness of whatever you are wanting to get the closest to the right WB. If you have a midtone subject then use the midtone gray patch. If you have a light subject use a brighter gray patch, and if you have a very dark subject then maybe use a darker patch, though probably not the darkest because there will be more error in that WB computed from the darker patches, so lighter ones would be preferred if you don’t have any other reason to choose one over the other, though not the brightest one, necessarily, because it could be clipped and unusable.
Finally you’re asking about the angle of the card with respect to the camera and the mainlight. You don’t want it to be halfway between the angle of the mainlight and the camera because that would have too much glare to the extent that there is any glare with the specially-prepared surfaces of the color-checker. You also don’t want it to be flat on to the camera, because that gives too much emphasis to the lighting behind the camera position (blue sky, green plants, red dirt, building walls) as blocked by the camera operator, so 1/3 of the way toward the mainlight angle is a way to mix in the lighting along the horizon with the mainlight to get an average. If you doubt whether this makes a different take two CC shots, one flat toward the camera and one facing the mainlight, as the two extremes of the color balance variation and see how much different they are when eyedroppering the same gray patch in LR.
In your situation, with 100% strobes, your only non-strobe-colored lighting would be from reflections of the strobes off other things nearby. Are you in a completely neutral studio setting and everyone except the model wears neutral clothing? If there are close by light colored neutral objects such as walls and ceilings, then some of the strobe light will likely reflect from the clothing and off the walls making the color-balance tinged with a bit of the subject’s colors. You could minimize this by taking your calibration shots without the subject or any non-neutral-colored objects in the vicinity of the strobes so as to minimize the subject reflection coloring the light. Whether any of this matters depends on how neutral and reflective your studio environment is. If your entire studio is matte black except for the model and backdrop then you don’t need to worry, but if it’s not, then there would be some reason to care.

NIKON D5000 NEF - Lightroom 2.6 and PSE show colors quite differently from what Nikon Software show

With my Nikon D5000 DSLR camera, I took recently photos from small blue flowers. I had set-up my Nikon D5000 to create for every photo both a NEF File and a JPEG File (and had set my camera to use Automatic While Balance).
I noticed that for NEF Files Lightroom 2.6 (and also PSE 7, that uses internally Camera RAW ) shows me the blue colors of the flowers quite differently from what I see with PSE for the jpeg file. It is my impression, that it is in the Jpeg files, that the blue color is close to the reality; and that it is with the NEF Files that Lightroom and PSE show a blue color that is quite different from the reality.
I also looked at the photo files with the NIKON "View Nx" 1.3.0 Software that came with my camera. With "View Nx" the blue colors (both with the NEF file and the Jpeg File) are very vlose that what i see with PSE 7 in the jpeg file (and quite different from what I see with LR and PSE for the .NEF File).
I mentioned this problem to Nikon Support. They suggested, that Nikon Software and Adobe software use different algorithms; and that the Nikon algorithms are better/closer adapted to the Nikon cameras than the more generalized Adobe algorithms that need to support a very large number of cameras.
But ....it is Lightroom that i wish to use to process my NEF Files and PSE that I wish to use to organize my Photos. Can a LR/Camera-RAW expert help me? I would like to find a solution to see with LR and with PSE in my D5000 NEF Photo Files blue colors that are close to the reality and close to what Nikon Software shows me on my PC. Please notice that I am very far away from being a professional and that i will probably not understand complicated explanations.
Thanks a lot in advance.
An additional note, that is perhaps not relevant: I used LR to convert my NEF File into a JPEG File format and looked at the blue in the result. It looks the same as what LR and PSE show me for the .NEF File (and looks different from the jpeg file crreated by the NIKON camera).

EJ and Jim
Thank You very much for your useful feedback.
I realize, that as a neophit I am an exot among the community of photo-experts and photo-professionals addressed by LR. Therefore the wish that I will now express is perhaps inadequate. But since it is gently, that i express this wish, I am probably allowed to do so......
My wish for a future version of LR, is that LR comes out of the box with a "reasonable" interpretation of the RAW images of most important/widespread modern cameras....without requiring that non-experts like me gets confronted from the very beginning with the need to develop their own default settings.
For this wish, I will formulate a Feature Request.
You might wonder, why a non-expert like me is interested in LR instead of using those Photo-Editing Software (e.g. PSE) that are supposed to address the need of non-experts. Well..... I am coming from the PSE world. I am reasolnably happy with the PSE Organizer....but I hate the complex, inefficient, unfriendli "user-interface" (experts will probably tell: workflow-interface?) of the PSE Editor. Its really a last-century Software. LR is so much more friendly, even for non-experts...within the Library Module, i do not need to switch back and forth between one dialogue-window for each type of change.... nearly all what i need is in that one right-hand pane of the Library module.
I honestly believe, that Adobe should take a serious look at promoting/marketing LR also to the audience of non-experts. That would be a good and attractive additional marketing opportunity for LR.

I want remove some dark spots on a hand and color it flesh color. I'm very new to Lightroom, can anyone help me with this? Thanks in advance for any help!

I want remove some dark spots on a hand and color it flesh color. I'm very new to Lightroom, can anyone help me with this? Thanks in advance for any help!

Have you tried the Spot Removal tool (press Q key)?
New to Lightroom? Go here: Getting Started with Lightroom CC - YouTube
Spot removal: Lightroom CC - Removing Dust Spots and Imperfections - YouTube

Lightroom 5.5 and Color Checker Passport

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