Magenta Color Cast in Center of Photos

My photos seem to have a very heavy magenta cast on the central portion of the photo. There also seem to be green/blue casts at the edges. I have tried resetting the phone and all the other basic fixes...

I have the exact same problem and it is quite pronounced. As a photographer, I know that this is considered a typical problem on some high end digital camera systems. It is typically caused by the angle of light hitting the sensor at certain angles and creating different color casts at different lens positions. One high end systems, this is solved using a semi-opaque white filter to isolate the colors and then apply a lens cast correction to all affected photos. Unfortunately, I haven't been able to do this same thing with my iPhone images because they are jpegs and not RAW. I'll keep looking but if someone else has figured it out, I would love to know how to fix this. Its really distracting.

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Magenta color cast problem on canon 7d raw files

when i import canon raw files (cr2) into lightroom 3, i get a magenta color cast over the whole image. the thumbnail image looks fine, but when lightroom opens up the image, it get's a magenta color cast over the whole thing. i shot raw+jpeg mode too, and there's a huge differnce in color between the two. the jpeg looks like how i shot it in camera but the raw image has the ugly magenta color. not only do i get this ugly color, but it seems like there's added noise compared to jpeg image.
i tried converting the cr2 into a dng. but when i open that in lightroom, i get the same problem.
i use aperture 2.1 (i only use the lr3 trial so far), but i have the same problem there.
i use cs3 but i downloaded cs5 trial.
acr i have is 6.1
help.
thanks.

Go to develop and the callibration tab and change it in the pull down menu to a canon default like 'Neutral' and not the adobe one which is made by somebody totally colour blind or obviously a Nikon fan.
Although this is weird as the problem for me has always been canon JPG's with the cast and not the RAW.
Also check your white balance cause Lightroom seems to change it whatever.. 'AS SHOT' is a big fat Adobe lie so use a preset from your camera in the drop down box.. Why? I shoot with Canon's flash WB setting which i know to be 5500k with the tint at zero. On import, Lightroom changes it to 6150 and adds an amazing +7 on the magenta tint, if i chose 'FLASH' things suddenly turn to what i see on the camera LCD.. I'm sure that is where the big fat tint has come from since day one.

LR 4.2 D600 deep shadow magenta color cast

LR4.2 gives some ugly magenta color cast on deep shadows especially at high iso pictures. Nikon Capture NX2 gives them too, but not so heavy. If I push the shadows at iso 1600, they are all magenta. Is it related to the beta state of the D600 support? My D700 is at iso 3200 in deep shadows completely black (only luminance noise), even pushed. Is there a possibility to correct that issue with LR (high iso blackpoint correction)? The shadow color tint correction from the calibration option is not really a solution, because it does not only correct the deep shadows, so the other shadows get a green tint.

Astrowheat wrote:
i also face this problem...
It appears the magenta shdow area in the above shot is confined to the bottom edge of the image. I just discussed this on a similar post concering a Canon 5D MKII with the same issue in the bottom corners of the image. I suspect it may be due to light entering the viewfinder and leaking into the mirror box:
http://forums.adobe.com/message/4843206#4843206
It's simple enough to try similar shots with the viewfinder blocked. When I shoot images on a tripod I always make it a point to block the viewfinder with the Canon strap mounted blind, a hat, or even my hand to keep direct light from entering the viewfinder. The only thing between your viewfinder and the image sensor is the foam seal that the mirror rests on in the up shooting position. At high ISO even the tiniest light leak could cause fogging of the image, and it will be most visible in the image bottom edge or corners (i.e. image is upside down on the sensor).

How to reduce purple color cast in high ISO Nikon D4 and D810 photos

In low-light photos taken with my D4 and D810 I often (but not always) get a severe purple color cast in the dark areas of the photo. I'm going to try posting a link to an example of one such photo, which I've put in my Dropbox account. I hope this works:
Dropbox - Example of magenta color cast-001.jpg
If the link works, you'll see what I mean: the dark areas are purple, not black as they should be. This was taken at the dress rehearsal for a play at ISO 3200, about the lowest ISO that I could get away with. The purple cast seems more pronounced along the edges of the photo.
I've read a bit about "amp glow"; is that what I'm seeing here? If it is, what can I do about it? Turning the camera off and on again and again to try to cool the sensor and the nearby electronics isn't much of an option.
And whether it's "amp glow" or something else, is there a good way to deal with it in Lightroom? I've had some success with reducing the purple saturation (and sometimes the purple luminance as well) in the "HSL" panel, but that becomes a problem if there are important elements in the photo which are SUPPOSED to be purple.
Any and all advice would be welcome.

dorffersmatt wrote:
Interestingly, my e-mail says there was another post about how to reduce the purple cast with proper in-camera settings, but now that post seems to have been deleted (by the poster? by somebody at Adobe?)
The poster (Drugstore) may have deleted the post after reading further because it may not have been relevant......just a guess. If you're shooting raw format the in-camera settings such as white balance are not applied to the image file, but they are for JPEGs. The suggestions I provided are applicable to both JPEG and raw image files, but you'll get the best results using raw format.
dorffersmatt wrote:
1) You said that you sometimes see the purple cast with your D4 and D810 if the white balance isn't set properly. What would you consider a proper white balance setting for a situation such as this one? It was the dress rehearsal for a play, with constantly shifting lighting. I just left the white balance on "Auto"; how would you have approached the situation?
Again, this only applies to JPEG format image files. For raw image files the WB EXIF data is read and set accordingly inside LR. For JPEGs the image data has the (incorrect?) WB applied in-camera, which compromises the dynamic range of the JPEG 8-bit/color data. Raw files are 16 bit/color.
dorffersmatt wrote:
2) You said that you also sometimes see it if "you activate the lens correction in LR while in raw mode and exposure is too low." Could you elaborate on that? Do you mean that I shouldn't use "Enable profile corrections" in the "Lens Corrections" panel?
I'm guessing this refers to what you call "amp glow" (amplifier glow). It usually appears as a higher exposure level around the edge of the image and may be confined to one area (top, bottom, sides). By turning off Lens Profile corrections ( "Enable profile corrections") Vignetting correction is not applied, which reduces the exposure level in the corners and frame edges. Some cameras automatically apply distortion and/or vignetting correction in-camera when shooting in JPEG format. Again, this is just another reason why you want to use raw format to get the best results inside LR.

Is there a way to remove lens color cast?

Hi
i took some photos with a Sigma 12-24mm f/4.5-5.6 EX DG with a canon 5d mark 3 and mark 2
and i noticed some magenta color cast
i tried the color passport check but and create a dng profile , but it doesn't eliminate the color cast
is there a way to remove this magenta color cast?
a tutorial , some advises
photoshop cs6 64bit windows 7
thanks

Color Balance is a simple way, not automatic though.

Panasonic GF1 horrible color cast

It seems that Aperture has some serious issues with a magenta color cast when converting GF1 RAW files. It's not so apparent with 100-200 ISO (but still there, especially whith large white balance shifts) images but once you get to ISO 800 the images become unusable.
The color cast is mostly apparent in the dark(er) parts of the image.
Check out the following links to some quick test images that illustratie the problem perfectly. The first link is the image developed in Aperture (latest version) with the white balance set on the white wall in the background. The second link is the same image developed through the latest Camera Raw with the white balance set in the exact same spot.
http://www.benoitvermeeren.be/forumpics/GF1_1704.jpg
http://www.benoitvermeeren.be/forumpics/GF1_1704CRaw.jpg
The Camer Raw image is perfect. Is anybody else seeing this issue with the GF1 (or other Panasonic cameras with similar sensors). It makes using the GF1 with Aperture impossible.
It's quite unfortunate as Aperture performs great with my D700 images and I really don't want to switch to Lightroom because it's horrible as a library management application compared to Aperture (altough Camera Raw is giving me better results and noise reduction, lens correction and split toning are great, but I digress...).
Also check out this thread for a similar experince with the GH2 (+4 months old):
http://forums.dpreview.com/forums/readflat.asp?forum=1041&message=37849807&chang emode=1
The people in that thread have sent feedback to Apple and AFAIK this hansn't been resolved yet so I'm not getting my hopes up.

Raw files are not visible. They must be converted to an image file format in order to be seen. This is done in-camera for display on the LCD screen, and for export of JPG (or other) files. For almost all cameras, any processing which changes the appearance is done to a JPG file.
When you import raw files +you do not get the JPG processing+. That's what raw is -- it's the light information prior to being converted to an image format. (The are enormous advantages to having this data available.) That is why your raw file previews are in color.
There are a number of monochrome and grayscale conversion presents in all raw development programs. It is generally accepted that these do a better job than most of the in-camera converters. There is no question that they give a choice among many -- as well as the ability to tweak them to your heart's -- or your printer's -- content, unlike the baked-in conversions done in-camera.
In short, raw is never black & white or monochrome. Adobe has a good older white paper on raw which is worth reading: +Understanding Digital Raw Capture+.
OS X is working correctly.

Color Cast to Phase One IQ files after opened.

I used the Lightroom beta 3.5 beta with CR 6.5 beta and now have installed the update of these two products. In beta I was able to open Phase One IQ raw files just fine but now with the 3.5 release I obtain a funny Magenta color cast that displays in the Library Mode and thumbnail but does not display in the Development Mode. This happens on both my Mac Laptop and workstation. Mac OS 10.6.8. I have not yet tried uninstalling LR and reinstalling, will do that next. The first image is in the Library mode after I have opened the file. The second is from the Development Mode. Notice how the tumbnail at the bottom remains constant but the small image on the left has changed in the Development mode to its natural look.
I should say that this color cast happens after I adjust the temperature settings of the image, not just from mearly opening it in Development.

I did this and it did not solve the problem. Still generating magenta tint.
Earl

WB tool values w/ a color cast?

First a bit of background so you know where I'm wandering in from...
I noticed that LR 3.3 fixed a bug with the WB tool values. Since my partner and I had just been discussing WB adjustments on some of our images, it was interesting to see the bugfix. I've also been doing a lot of reading lately (Briot, Kuyper, among others) and WB has come into those readings as well.
As I understand it from Briot's writings, our RAW images really are like a single channel of numbers representing color. We use LR or ACR to convert that single group of numbers to actual color channels (RGB for example). Because of this, it's best to address any color balancing during that conversion when it's a single set of numbers (single "channel") versus 3 sets (RGB channels). This makes sense.
When I'm in LR doing WB I use the WB tool. But how I use it is not necessarily "correct" or "as intended." My understanding is that using the tool, I should choose a 'neutral' within my image -- something without a color cast. At one point I tried to do this by matching the RGB percentage numbers as closely as possible -- first looking for a good neutral candidate area in the photo, then hunting within the area for the 'best' match. This works fine, but I found it a bit tedious. So, thinking of the desired WB target as being 'without a color cast', I went instead for a spot which I knew to be (or wanted to be) somewhere along the 'spectrum' from black-to-white (i.e. no "color" cast) since not all photos have a neutral gray. Some of these points might have been specular highlights -- in water for example -- though in these cases I now know I should be double checking my histogram to ensure I'm not pushing an RGB channel to the clipping point (if I have clipped a color -- i need to choose a different WB area)*.
So, the question comes in what happens with those RAW image values (the 'single channel' numbers) when they're displayed in the WB tool?
I'm assuming these values are produced by doing a 'calculation' to determine what % of RGB a particular value represents. If that's the case, it would properly (hopefully) determine the RGB % values when there is proper WB in the RAW image. However, when I've got a color cast wouldn't the % values be skewed by the color cast? If not, why not?
I suppose most find these details unnecessary in working on their images, but I find it helpful in visualizing what is really going on 'under the covers' of the tools we use to optimize our images.
Thanks for any insight!
- Bonnie
* If the spectral highlight value has in effect 'no color' does this mean the single channel number has no data to differentiate the RGB % values (it sees them as 100% R, 100% G, 100% B) and therefore would indicate these values would be equal even though elsewhere in the image, there may still be a color cast? If so, why do I see decent WB results (desired color balance) if I choose one as the WB selection? Am I just getting lucky?
If I were to choose a completely black area in the image (if that were possible to pinpoint) would it also mean there could be channel clipping on the low-end (0% R, 0% G, 0% B)?

Thanks for the responses.
Perhaps the most pertinent word has been "after" in terms of when the WB values will display as R=G=B. That is, "after" I have made my choice of 'neutral' within the image w/ the WB tool it will *become* neutral.
It seems then that the values of the RGB in the WB tool are simply the result of the RAW converter's algorithm to change the single channel RAW data to R-G-B values and it's determination of what those % values currently are. So these displayed WB tool RGB values can't really be used to determine the location of a neutral color as I had earlier thought. That choice must come from the photographer's knowledge of the image and his/her choice of a desired 'neutral'.
I realize most will simply not find it necessary to know, however I still wonder how the actual data values of the RAW are converted to the RGB channels -- but that's a question for another day.
Thanks again.
Happy imaging...
- Bonnie

Color cast when printing from Lightroom with Epson 3880 printer

Just got an epson 3880 printer. Printing on epson paper is fine. But printing on Ilford or Moab or other papers from lightroom and photoshop have a terrible magenta color cast.
WHen I print the same image from Preview, with the same print driver settings, it looks fine. So somehow the adobe apps (or my settings) are messing up the color sync.
I used to have an espon 2400 which worked just fine.
I have Mac OSX-10.9.1. Monitor is calibrated. (Prints to epson paper with their profiles look great...it's just other profiles that are really bad).
I need help!

Are you using moab icc profiles or are you using one of the epson profiles?
I always use the moab profiles which you can download from their Web site. This way you are matching the specific epson printer with the specific moab paper.
At that point you change the printer manages color to Lightroom manages color and select the specific profile. Very easy to do - they even have instructions on the Moab site for installing the profiles if you haven't done that.
Once installed you can also use them through the system print dialogs in PS but it is really much much easier to use in LR - Since coming on board with LR last summer, I have switched to doing ALL printing from LR. Since you mentioned that you are having the same problem with LR and PS, I'm betting you are using epson profiles and this will solve your problem.
Hope so
Tom

Magenta colour cast added to exported jpg photos

I shoot raw with my Canon EOS 5D and import the raw images to LR. There is no Development preset. Colours in LR look OK on my calibrated monitor - this is not a camera calibration problem as suggested in LR help and knowledgebase; I have tested these solutions with no change. Basic edits are usually about exposure correction or spot removal.
When I export the photos as a jpg files they have a magenta colour cast, sometimes quite strong. LR cannot be used for reliable prediction of what an exported photo will look like.
I checked with Canon Digital Photo Professional. The colour of the original photo shown in DPP is exactly the same as the jpg colours. This makes me think that LR display render is unreliable.
My system is as follows
LR 1.4.1 on PC with XP Pro service pack 2
LR installed on C: with over 80GB free space
LR catalogue on second internal F: with over 34GB free space
Photos on USB drive with over 220GB free space
2GB RAM 2.4 GHz P4 with Dell 2408WFP LCD monitor
LR export to sRGB 80% jpg 1000 pixels short edge (reduced from 4368x2912 pixel)

>I calibrate my monitor with Monaco EZcolor 2.6.5 and an i1 calorimeter from x-rite. I have profiles for day time with natural light and for evening with artificial light. I have also tested the monitor with various pictures for black and for colour rendering.
Excellent! Be aware that I have seen problems on this forum before because of defective colorimeters (a calorimeter is a device that measures heat BTW!).
>I use LR and Photoshop CS2. I use Canon software to download the photos from my camera to sub folder of my own choice then I import them to LR. The colour rendition by LR and Photoshop are identical.
That is a very good sign. If the color rendition between Lightroom and Photoshop is identical, you do not have a bad monitor profile, so we have to think about something else.
>The exported jpg files are uploaded onto a web page at panoramio.com for use on Google Earth. Therefore I view the jpg files with Mozila Firefox 2.0.0.14 and with Google Earth 4.2 The colour rendition by Canon Digital Photo Professional of the raw file is identical to the jpg rendition by Firefox of the web site photo.
Be aware that DPP can be set up to not color manage. There is a preference you have to turn on to make it color manage (you should if you want to trust the color). If you see a difference between Lightroom/Photoshop and an unmanaged browser, it is usually due to the fact that the browser is unmanaged. You cannot trust an unmanaged browser to show you the correct color even on a calibrated monitor. You still should not have a color cast in the neutrals though! Perhaps you should post some examples such as a direct Lightroom export (perhaps simply a link to the panoramio page) and a screenshot of what it looks like on your machine. That could perhaps narrow the issue down.
Do images such as the third image down in the left column (labelled "sRGB Standard RGB 2.2 gamma") on this page http://www.gballard.net/psd/go_live_page_profile/embeddedJPEGprofiles.html look normal (i.e. normal skintones, not too saturated, neutral whites) on your screen?
>I don't know about Firefox 3.0, it has not been offered in the normal auto update. I don't know about the secret setting for Firefox.
Read this: http://lagemaat.blogspot.com/2008/06/firefox-30-released.html

IMac CS3 Photoshop Magenta/Cyan Color Cast w/Epson - Help!

I've been reading past posts and other websites on this problem and cannot seem to resolve it. I have an Epson 2200 and have been working in CS3 for at least a year with great results. Suddenly, my prints are whacked out with color cast. I reinstalled CS3, I re-set profile to sRGB space & "no color management" in the Epson settings. I've tried Adobe manage color & Printer manages color. I'm still not able to print my work. Any other suggestions before I pull my hair out?
Thank you!

Try doing all you did and reinstalling your printer drivers first remove the printer from the printer list then check to see if there are any cache files and preferences associated with the printer and trash those as well.
See if this gets you back to where you were.
BTW did you install any software lately or updated any of the applications you have on your system?

How to correct for dual color casts?

It seems that I have a slight warm color cast from the top of my image down and a slight cool color cast from the bottom of my image up. The center area is color neutral. How to I correct for these color casts?
I tried an adjustment layer with linear gradients added of very pale red to transparent to kill the cool in the bottom half and a linear gradient of very pale blue to transparent to kill the warm in the upper half. The color was somewhat neutralized, but now the top and bottom are even darker, more saturated.
I'm thinking I need something like a gradient "photo filter" for Photoshop?
Anyone know the quick way to solve this problem?
Thanks,
J

I just answered my own question: I changed the color of the Dodge Tool to pale Red and took out the cool cast and now I'm going to change the color to a cool color and take out the warm cast.
Sorry.
J

My manipulated images come out with a green color cast and poor quality

I manage my photos with ACDSee, but use Photoshop CS3 for much of my editing. The image leaves ACDSee with rich true colors, and while I'm editing in Photoshop the image looks like I want it. But when I save the image and view it in ACDSee, it now is faded, has a green color cast and looks faded, dull and shallow. What do you think is happening? Thanks. Rickrans

One other place to look.... If you shoot raw images, there's a separate configuration for the color space the Camera Raw converter delivers its results in. Click the little link at the bottom-center of the Camera Raw dialog. If you want to work in the sRGB color space, change it as shown here:
-Noel

Printing photos from iPhoto 9.5.1 on my printer yeilds garish two color prints. Exporting the photo from iPhoto to desktop then printing from Preview works fine. How can I get good prints from iPhoto?

When printing photos in iPhoto 9.5.1 with my HP inkjet printer the multitude of colors in the photos are reduced to two, Magenta and Yellow. If the photos are exported to my desktop (MacPro) and printed from Preview, the colors in the prints are fine. How do I get iPhoto to print the colors correctly?

Brad
What settings did you use in the Export Dialogue?
When you go File -> Export you get a tabbed box with various options. In the File Export tab you can choose to scale the pics, or keep them the same size, change or retain the format.
Regards
TD

Media Encoder adding RBG color casts on BW 16mm Footage

Hey Everyone,
I am really stumped by this one. I am working with FCP6 and Apple Pro Res HQ scans of 16mm B&W footage. I am trying to encode a self-contained .mov file (direct from FCP) in Adobe Media Encoder CC (for Blu-ray) and then burn to Blu-ray with Encore CS6.
I burned the first test Blu-ray last night and when I played it back on my Blu-ray player/TV, I was stunned by the fidelity and definition of the otherwise thick/complicated 16mm grain structure, even via what was only a 6GB .m4v render (compressed from 33.5GB .mov). Everything was perfect...EXCEPT...I got these horrible "color casts" of red, blue, green, magenta, across practically every shot in the footage. Particularly in the last shot of the drain pipe (see example clips 14 seconds long):
Original: https://vimeo.com/97456916 (pass: "original")
Blu-ray: https://vimeo.com/97453674 (pass: "colorcast")
Obviously the footage does not look this in either FCP6 or .mov in QT7. I just double checked and the color casts ARE visible when playing back the ME converted .m4v in Encore. I have also taken the .mov from FCP and brought that into Encore and NO COLORCASTS. I have also taken the .mov, reimported it to FCP and but a 3-Way Color Corrector on it and put the saturation at zero, exported that, and then ME>Encore and it still adds the color....So I am 99% positive this is a Media Encoder issue. Here are the settings I used:
Considering how long is has taken me to get satisfactory web compression results from 16mm footage in the past, I feel like I just hit a grand slam in the bottom of the 9th with the playback fidelity of the first test Blu-ray. The motion and definition are phenomenal, I mean we are talking Criterion quality--without X.264 or Blu Code--(even with all the modern "overcompensation" crap turned off on my TV). I AM SO SO CLOSE TO RENDERING/BURNING A PERFECT BLU-RAY IF I CAN JUST FIGURE THIS COLOR THING OUT!
Got a deadline to get this into the hands of a couple of prominent filmmakers.
Any help or ideas that anyone can provide will be most appreciated.
Thank so much!
Alec
MAC PRO // OSX 10.7.5 // 2 x 2.66Gmz 6-Core Intel Xeon // 32 GB 1333 MHz DDR3

***SOLUTION***
Well it seems silly that I had to do this at all, but here is the workflow that finally seemed to solve the issue without adding an extra level of encoding...
Save self-contained .mov of my timeline in FCP6 > bring that back in FCP as a separate sequence and apply the "Desaturate" filter (Image Control > Desaturate) to the entire film > save as self-contained .mov again > convert in AME > master and burn to Blu-ray with Encore > Presto!!! NO COLORCASTS on B&W 16mm footage in Encore and no colorcasts from the file on the burned Blu-ray disc.
I believe I stated it above, but in case I didn't, adjusting the chroma and/or "desaturating" via FCP's color corrector plugins did not work...even with the exact same workflow otherwise. I have no idea why, but if anyone ever runs into the same problem, this worked for me. Only took two weeks to do something that I guessed would take a day, maybe two. Geesh.
Thanks again guys for all the suggestions. Really really appreciate it.
-Alec

Magenta Color Cast in Center of Photos

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