Lightroom shadow clipping different to ACR

Lightroom black point clipping shows up much more heavily than the same image processed with the same settings in ACR. Is there any reason for this?

You need to set ACR to prophotoRGB to get comparable results to LR, but even then, because prophotoRGB has a gamma of 1.8, instead of the 2.2 in Lightroom's space, you'll get slightly different shadow clipping. No way around it.

Similar Messages

  • Shadow clipping in Lightroom 3: how can it be avoided?

    Hi all,
    I'm new to the forum, and I hope some of you can aid to clarify a doubt and to solve a problem. I' m starting to catalog my scanned images, and many of them are Tiff files with embedded input profiles (in Prophoto RGB color space). Many of these images show clipped shadows in Lightroom 3, and this is apparent by the histogram (I know, this could be misleading, I have read previous messages about problems with the histograms in Lr); furthermore, these shadows cannot be recovered by increasing exposure or in any other way. However the same images, opened in Photoshop Cs4, do not show any shadow clipping, and the same dark areas that in Lr3 appear to be clipped, here can be "opened" by increasing exposure. This problem is apparently limited to Tiff files (with embedded color space), I did not see any problem with DNG files.
    Someone know if there is a way to avoid the problem, and to have unclipped shadows in Lightroom?
    Regards, Maurizio

    There have been many people reporting here that all shadowrendering issues
    in Lightroom completely disappeared after selecting a matrix profile instead
    of a LUT profile. I don't have the problem myself, but it clearly is real.
    Lightroom cannot grok certain monitor profiles correctly that Photoshop can.
    It might be something specific to the calibrator software that they were
    using. Granted what happens generally for those folks reporting issues is
    that the shadows are too light, posterized or even have a tint to them
    compared to the rendering in PS. I have not heard of anybody getting clipped
    shadows. That really sounds like a black level being dialed in where it
    should have been zero for tiff files.

  • Histogram Shadow Clipping Indicator - What do the colours indicate?

    To see what colours in the shadows are clipping to zero, and exactly where they occur in your image, you can hold down the Alt (Windows) or Option (Mac) key and move the Blacks slider to the left (in ACR 7.x and 8.x).
    To quote from the top of page 206 of Jeff Schewe's and Bruce Fraser's 'Real World Camera Raw with Adobe Photoshop CS5' (which deals with ACR 6.x - but AFAIAA nothing has changed in ACR 7.x or 8.x), you interpret the displayed result as follows:
    "Unclipped pixels display as white. The other colors show you which channels are being clipped to level 0. Cyan pixels indicate red-channel clipping; magenta pixels indicate green-channel clipping; yellow pixels indicate blue-channel clipping. Red pixels indicate clipping in both green and blue channels; green pixels indicate clipping in red and blue channels; and blue pixels indicate clipping in red and green channels. Black pixels indicate that all three channels are clipped."
    Does the same result hold true for the colour of the Histogram Shadow Clipping Indicator?

    Thanks, Eric. I'll check out your suggestion about the point curve.
    I've already started to do some testing of my own, based on the Histogram's reaction faced with simple images composed only of various combinations of pure (fully saturated) Black, White, Grey (dark, mid and light), Red, Green, Blue, Cyan, Magenta and Yellow. The results so far are a little surprising, but I'll report in full when I've had the chance to complete the test.

  • The black "show shadow clipping" indicator not extinguishable.  What can be done?  I tried the obvious.  There is no evidence of clipping.

    The black "show shadow clipping" indicator not extinguishable. .  What can be done?  I tried the obvious.  There is no evidence of clipping.
    Lightroom version: 5.6 [974614]
    License type: Perpetual
    Operating system: Windows 7 Ultimate Edition
    Version: 6.1 [7601]
    Application architecture: x64
    System architecture: x64
    Logical processor count: 8
    Processor speed: 3.3 GHz
    Built-in memory: 16364.3 MB
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    Real memory used by Lightroom: 1055.2 MB (6.4%)
    Virtual memory used by Lightroom: 1071.8 MB
    Memory cache size: 2.0 MB
    Maximum thread count used by Camera Raw: 4
    System DPI setting: 96 DPI
    Desktop composition enabled: No
    Displays: 1) 1920x1080, 2) 1920x1080
    Application folder: C:\Program Files\Adobe\Adobe Photoshop Lightroom 5.6
    Library Path: C:\Adobe Lightroom Catalogs\2014_05_31 (3).lrcat
    Settings Folder: C:\Users\XXXX\AppData\Roaming\Adobe\Lightroom
    Installed Plugins:
    1) Canon Tether Plugin
    2) Facebook
    Config.lua flags: None
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    First off, this image is not a raw image.  It is a compressed small-raw of some sort so Adobe's normal demosaicking algorithms are not being employed, and Adobe is having to reverse engineer R, G, B channels from Y, Cb, Cr channels, so something may be non-optimal this conversion.
    Secondly, at least with this non-raw Y, Cb, Cr image, there are some Y pixels that have zero value in the file, so no matter what you do, other than adjusting the bottom of the tone curve above zero, they will be clipped.
    It also seems that the clipping indicator triangles are not affected by the Detail settings so turning off any noise-reduction or sharpening is required show you which pixels the clipping triangle is keying off of.
    Here is your image opened in an RawDigger which is a raw analysis program that indicates the Y channel does have a minimum value of 0:
    Here is a screenshot of LR with a very small crop on the shadowed background area above the performers, with the Detail settings turned off--no noise reduction or sharpening, and the Toning settings as bright as possible, and in that small crop area, there are a few black pixels that are highlighted blue if I turn on the clipping indicator, so it's not surprising, that with this image, at least, the black clipping indicator doesn't turn off very easily.  In this side-by-side, they have the same settings, but the Before image is without the clipping indicator and the After image is with the clipping indicator engaged so you can see the 4 pixels that are 0 in the tiny cropped area:
    Here is a DNG of the settings as in the above LR screenshot, other than the embedded preview that appears to be the entire image not the tiny cropped area:
    https://dl.dropboxusercontent.com/u/9905000/Dab_143378_smallcrop_maxedtoning.dng

  • Highlight/Shadow Clipping Indicator - Show the image too.

    The highlight/shadow clipping indicator feature (Alt/Exposure or Alt/Blacks on my PC. Not sure what it is on a MAC)is marvellous and indispensible. But, it could be better, in my view.
    When you are checking for clipping using this feature, the image disappears leaving you with only the clipped pixels. Everything else goes black.
    The problem is that you only see the effect of your decision on how much clipping you want to allow (if any) when you take you finger off the Alt key.
    It is vital, particularly when judging shadow clipping, which is so important in setting the overall contrast of the image, to be able to see the effect of your actions in real time. These actions can be so subjective.
    So, would it be possible for the highlight and shadow clipping (i.e. the blown pixels) to appear in the form of a colour on the image, *but* keeping the image visible at all times?
    Thinking about it further......it would be great to be able to switch between 'blacked out' and visible in Preferences, or some such.
    Thanks.
    D.

    >Just curious though, where on the Adobe site would I have found this extremely useful piece of information?
    You might start with Photoshop help, which explains those controls and directs you to a
    Video Turorial on the Adobe web site.
    While the help is well done, ACR is a pretty complex topic, and for a more in depth coverage I would recommend the latest edition of Bruce Fraser's Real World Camera Raw, which Jeff has updated and will be available soon.

  • Are highlight and shadow clipping must be avoided in any image?

    Are highlight and shadow clipping must be avoided in any image?
    Because in some cases, let's say, night scene, usually has many black pixels in the sky. Which perform nice contrast against the colorful signs.
    Please check the attached image for reference(01.tif).
    I know there's nothing in the sky, so I would like to keep all the pixels to be clipped. Is this right?
    Some of my students says that other instructors told them to keep all the pixels in the histogram.
    But I tell them it depands on how would you like your images to show. Am I correct?
    As the attached image, it's impossible to pull the black pixels back to the histogram and I think it's acceptable in this case.
    Let's see the 2nd case(02.tif), this image has highlight clipping in the clouds.
    I like the way this image looks, which looks like a watercolor painting.
    If I pull the white pixels back, the image will change a lot and I will get a very dark overall.
    My question is, is it that important to keep your images without having highlight or shadow clipping?
    This is not apply to any image, right???
    THANK YOU

    For a more in depth discussion of clipping, it should be noted that clipping can occur in either the raw file or the rendered white balanced file. In the latter, it can take the form of luminosity clipping or saturation clipping. Saturation clipping occurs when the chosen color space is too small to accommodate saturated colors at a high luminance. In ACR, saturation clipping is indicated by a colored line or shoulder at the right of the histogram. The remedy is to use a larger color space. Luminosity clipping in ACR is indicated by a white line or shoulder at the right of the histogram and the remedy is to adjust exposure or use highlight recovery.
    Examination of the OP's histogram shows a yellow line at the right, indicative of saturation clipping of the red and green channels. The OP could try a wider space such as ProPhotoRGB.
    Here is an image of a a flower rendered into sRGB using the ACR defaults and the Adobe Standard camera profile. It appears overexposed and the yellows (actually reds and greens) are clipped as indicated by the yellow line at the right of the histogram.
    The raw histogram (produced by Rawnalize) shows that the image is well exposed. The red and green channels are just short of clipping. The image appears overexposed with ACR, since ACR uses a baseline exposure offset for the Nikon D3.
    However, when white balance is applied for this daylight exposure, the red channel is multiplied by approximately 2.21, and this should result in clipping of the red channel. This did not work exactly as expected with ACR, so I used Iris (a freeware astronomical program which allows extensive control of the conversion process) and examined the histogram of the resulting image in Photoshop. Note that the green channel is just short of clipping, as expected and that the red channel is clipped.
    To avoid clipping with the white balance in ACR, it is necessary to use negative exposure to offset the red white balance multiplier. I chose to use a bit of highlight recovery as well to tone down the highlights while maintaining a pleasing value for the midtones. Here is the resulting preview with rendering into ProPhotoRGB.
    In this case, I was able to avoid clipping. However, when the image is printed or viewed on a display with a limited gamut, some clipping would undoubtedly occur.

  • Preview highlight and shadow clipping mask in second monitor

    Hi, I'm new in the forum and just starting with the new LR3. I have a question about to preview highlight and shadow clipping in the second monitor, becouse I can't check the mask clipping in my second monitor as in the LR2... Is there a possibility to change it to preview the mask in the second monitor?
    Thanks and regards
    Daniel

    Yeah, thanks.... but I mean that when you are in develop mode and you try to see the highlight or black clipping mask, red or blue, now in LR3 only appears in the main monitor, not in the second monitor as well like in LR2... Maybe I'm not explaining very well the difference...

  • Why is the view of the clip different then the view of the project?

    why is the view of the clip different then the view of the project?

    Yes you are correct, it is with the setting of the properties.
    Where do i report this then if it is not with the SDK but the manual setting of properties.
    Also, how do i alter this ussue with the SDK, what are the commands, does it have to be done only by Javascript?

  • Synching Lightroom with 2 different hard drives....

    Hello,
    Almost every post I see here is about people needing to sync Lightroom with 2 different computers, but I'd like to know if anyone can tell me how to get the same exact images on two different hard drives to show up in Lightroom with all of my Lightroom develop settings. I need this as I have so many images and only a 500GB SSD on my MacBook Pro that I just store all of my finished work on an external drive, the problem is that when I leave my home I tend to not take that drive with me for safety reasons, but if I do need access to the actual images on my catalog I'm screwed! So I recently purchased a portable external drive to copy all of my images onto it "with" all of my Lightroom develop setting but for the life of me I can't get the images to show up in the new drive with my Develop settings applied to them. When I open the images in that new drive in Lightroom using the same computer only the original untouched RAW and Jpeg files show up just as they came out of the camera which is useless to me as I need to see them as I Developed them in Lightroom. Can anyone please help......
    Omar

    The way I would probably do this is to keep the files I am currently working on on the internal drive of the computer. Older source images are kept in the external drive. The LR catalog is on the internal HD. When I am done with the current images, they are exported to JPG with the edits applied. The source images are then transferred to the external drive. This file move can be done inside of LR or done outside then relinked.
    Source image files can only exist in one place as far as the catalog goes. Images stored on the external drive will be available when the drive is attached and not available when detached.
    The exported JPG files can be stored on the internal drive for quick presentations. Delete them as space is needed. Recreate them as desired from the external drive.
    Using external drives for older images that are not needed frequently is a common scenario for LR.

  • How to turn off shadow clipping in photoshop?  Not in ACR

    I have CS5, it crashed and when I restarted program, all the actions were missing and now in photoshop there is a clipping warning in shadows, like dark blues.  I know how to turn off clipping in ACR but this is in Photoshop.  Any ideas what is going on and why I lost all my actions?

    Thank you, Jim ... I knew that ... just had a brain cramp I guess

  • UPRIGHT: why does ACR and Lightroom process images differently using Upright

    Current version of ACR and LR
    MBP 2011
    OSX Mavericks
    Hello - I process hundreds of architectural images daily in ACR. I started using LR but found that the Upright function in ACR is much more accurate. Am I missing something here? Are these not the same functions between software?
    Cheers

    I am seeing identical Upright corrections in both ACR 8.6 and LR 5.6 if I start with the same raw file.  It might work differently if you're doing Upright in ACR of a smaller file or a JPG vs raw or something else that makes the image different for the detection algorithms.
    Can you provide a sample image you’re seeing processed differently?  Upload to somewhere like http://www.dropbox.com/ and post a public download link, here.
    Also what precise versions of LR and ACR are you using?

  • Editing timelapses in Lightroom- looks very different if there´s a small change within the frame

    Hi
    We´re having some serious issues with editing timelapses in Lightroom (5.6). What seems to happen over and over again, is that if there´s a small change within the frame (such as a bird flying past, people walking), the editing result varies greatly compared to the previoius frame. It´s easiest to understand what I mean by viewing the examples below.
    Here there´s one picture without a boat in the frame, and a few seconds later there´s a boat in a small part of the frame. The camera is set to full manual, and the two JPGs which show the unedited pictures shows that the background and sky in both pictures look exactly the same. However, after pasting the same editing setting on both pictures, the picture with the boat looks vastly different (shadow areas are much darker). It´s the same result weather it is a white boat, a black bird or a person walking in/out of the frame. The picture gets much darker, and leads to some serious flicker in the timelapse which can be impossible to get rid of.
    I assume that as there´s a small change in the histogram when the boat enters the frame, this change affects what Lightroom thinks of as shadows/highlights on so on? The example below has some heavy editing applied (shadows up, highlights down, clarity). You can see the settings that have been adjusted in the screenshots below. Does LR change what it considers shadows/highlights based on the histogram, or are there standard settings? If this is the case, it would be much better for timelapsers if Lightroom had standard values for what is considered shadows/highlights, so that two pictures where the only difference is a person walking on the street or not, would look the same with the same editing settings applied. What I find strange if LR works like I´m asking here, why does the picture get darker whether it is a white boat or a black bird changing the histogram slightly. Shouldn´t they then have the opposite effect of each other?
    Any ideas what is causing the difference, and what I can do about it? Thanks!

    In these forums you are only talking to other users like yourself, not Apple. Be sure to repost your info in the channel Apple has set up for it:
    http://www.apple.com/feedback/imovie_iOS.html

  • Why when I open my raw files into lightroom, colors are different from my camera's preview?

    Ciao,
    I have a problem... maybe this can be a stupid question but anyway.. I would like to know the reason why when I open a raw image in lightroom, for a second I see the right colors/tone/contrast that i see when i look at the same images on my camera and soon after the word "Loading" I see the raw files with different colors.
    Why this happens???
    Before "Loading" and --> after
    Thank you so much

    Hey Giuseppe
    I have a similar problem but the cause may be different from yours. I shoot a Canon 6D and as far as I know no one with the 5D MKIII has my issue, but maybe you could look into it.
    Canon's Adobe Camera Raw in Photoshop CC, as well as Lightroom CC, is automatically down converting my CR2 RAW files from 14 bit color depth to 8 bit color depth. This is screwing up my colors, contrast, gradients, etc quite a bit when trying to process RAW files in Photoshop CC and Lightroom CC.
    You can read my thread here:
    Banding due to automatic downconverting of RAW files to 8 bit
    You might want to check and see if your RAW files are actually being processed in 16 bit color depth. There is a possibility that they are being down converted automatically for some reason.
    The bit depth in Lightroom for RAW files is supposed to be 16 bit but when opening my files it just converts it down.
    Try downloading Canon's Digital Photo Professional 4
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    If you are having this issue, I have not yet found a way to process RAW CR2 files in ACR or Lightroom and maintain 16 bit depth.
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    Sorry, this may not help you at all, it looks like there could just be a difference in White Balance, but I figured I'd throw my two cents out there and maybe you could see if this is actually what is happening for you, and hopefully eventually Adobe could potentially fix this bug.

  • Reverse Telecine affecting identical clips different ways

    I haven't a clue on how to begin searching for this.
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  • Opening Lightroom images in photoshop cs5 ACR

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    No...and there is no reason to do so. Lightroom and Camera Raw share the exact same processing pipeline–assuming you are using the same rev version. The only way to take a raw image into Photoshop and use the Camera Raw dlog is to open as a Smart Object which will give you the SO version of Camera Raw inside the Photoshop document.

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