More on split-toning

Hi all,
I understand the use of the split tone (ST) controls in LR (1.3.1) but need some assistance with finding appropriate starting points for the hues. The reason is that I am colour blind and find it difficult to see the colour I am selecting on the narrow little sliders.
I suppose part of this is that rather than using ST hues that appeal to my senses I am trying to emulate more conventional darkroom based things. Yes I do understand that this is fraught with all sorts of hazards and depends very much on the chemicals, immersion times, paper etc used. (One only has to pick up Tim Rudman's
i The Photographer's Master Printing Course
to appreciate that.
What I am looking for is some starting H&S values.
I am aware that sepia, selenium, platinum are available (supplied by Adobe and from Lightroom Extra), but to my eyes the LR supplied selenium tone is nothing like selenium darkroom prints I have seen in the above book or elsewhere.
While I am talking about the selenium preset, I notice that it also changes the white balance and grey scale mixes along with the tone curve. I can understand why it does so but how does one choose where to start when one's colour discrimination is stuffed (that's a technical term by the way,
I have tried matching some of the effects using the ST panel and the colour-picker tool on my Mac but then have to battle with differing device colour profiles etc.
I also have PSElements so perhaps this may be a better place to do it, but I was hoping to stick to LR if possible.
So any suggestions gladly accepted.
Andrew.

One hint, would be to hold the Alt key while adjusting the sliders. This allows you to see the effects you are making to the whole image, rather than trying to view the tiny hint in the slider.
I do not do split toning, so I cannot speak further or more intelligently on this subject.
Steve

Similar Messages

BUG: LR5 Quits when I use keyboard arrows to adjust saturation of Split Toning colors.

File: Canon .CR2 raw
LR Module: Develop
When attempting to adjust saturation of colors in Split Toning, LR immediately stops working. Specifically, when attempting to manually select a Split Toning color --> Click Color Box to open full range of Hue & Saturation options --> Click numeric box to adjust saturation --> press arrow keys on keyboard to adjust # up or down --> LR IMMEDIATELY LOCKS/QUITS.
A closer view:
My System Info:
Lightroom version: 5.0 [907681]
Operating system: (Build 9200)
Version: 6.2 [9200]
Application architecture: x64
System architecture: x64
Logical processor count: 8
Processor speed: 3.0 GHz
Built-in memory: 16270.8 MB
Real memory available to Lightroom: 16270.8 MB
Real memory used by Lightroom: 549.9 MB (3.3%)
Virtual memory used by Lightroom: 525.1 MB
Memory cache size: 399.8 MB
Maximum thread count used by Camera Raw: 4
System DPI setting: 96 DPI
Desktop composition enabled: Yes
Displays: 1) 2560x1440
Application folder: C:\Program Files\Adobe\Adobe Photoshop Lightroom 5
Library Path: C:\Users\Matt\LR_Catalogs\LR-CAT_2013\LR-CAT_2013-2.lrcat
Settings Folder: C:\Users\Matt\AppData\Roaming\Adobe\Lightroom
Installed Plugins:
1) Behance
2) Canon Tether Plugin
3) Facebook
4) Flickr
5) Leica Tether Plugin
6) Nikon Tether Plugin
Config.lua flags: None
Adapter #1: Vendor : 8086
    Device : 162
    Subsystem : 54b1028
    Revision : 9
    Video Memory : 32
Adapter #2: Vendor : 10de
    Device : fd2
    Subsystem : 54b1028
    Revision : a1
    Video Memory : 7ca
Adapter #3: Vendor : 1414
    Device : 8c
    Subsystem : 0
    Revision : 0
    Video Memory : 0
AudioDeviceIOBlockSize: 1024
AudioDeviceName: Speakers (Realtek High Definition Audio)
AudioDeviceNumberOfChannels: 2
AudioDeviceSampleRate: 44100
Build: Uninitialized
CardID: 354
Direct2DEnabled: false
GPUDevice: D3D
MaxTexture2DSize: 8192
OGLEnabled: true
Renderer: Intel(R) HD Graphics 4000
ShaderModel: 11.1
Vendor: Intel
VendorID: 32902
Version: 8086:0162:54b1028:0009

I have verified this and agree it is a bug. A bug report has been filed.

Re-arrange Aperture bricks for split toning

Hi
Does anybody know if it is possible to re-arrange the control bricks in Aperture.
I'd like to know because I believe Aperture applies its affects from the top down (correct me if i'm wrong). If this is the case, i'd like to move the Monochrome Mixer so that it sits between the White Balance brick and the Exposure brick.
If my thinking is right, then it should be possible to split tone a b&w image by using the RGB levels sliders.
Just a wild thought! Hope someone can put m straight.
Cheers
Kiran

keypix wrote:
Does anybody know if it is possible to re-arrange the control bricks in Aperture.
you can't
I'd like to know because I believe Aperture applies its affects from the top down (correct me if i'm wrong). If this is the case, i'd like to move the Monochrome Mixer so that it sits between the White Balance brick and the Exposure brick.
It applies them in the order they are executed by the user- AFAIK
If my thinking is right, then it should be possible to split tone a b&w image by using the RGB levels sliders.
This won't work if you're talking about the kind of split toning offered by ACR where the highlights are one color tone and the shadows are another.
You can really tweak out a B&W using the individual RGB sliders and the color sliders, but the color monotone is just mono.
DLS

I've just bought lightroom and downloaded it and in the Develop Mode I am unable to find the 'Basic' tab. All that shows (in the order that they appear on my screen) are Histogram, Tone Curve, HSL/Color/BW, Split Toning, Detail, Lens Correction, Effects a

My Basic Tab has vanished...clues on where I can find it. I have a horrible feeling I've pressed some 'hide' button by mistake and can't find how to undo it

Right-click on one of the tabs that are visible and select "Basic" from the menu that's presented, Mohammed.

My album is split up, how do i get it back together?

The more I try to put it back together, the more it splits up

In most cases, this is because different tracks have different artists (it might be a compilation album, or some tracks might have guest artists).
Select all the tracks, right-click->Get Info, and fill in the "Album Artist" with the same value for all tracks. This field is usually blank, but if it's filled in, it will override the "Artist" field and cause the tracks to be grouped together as an album. The Artist field will still be there, and will show up under individual tracks when you view the album (although I've found you need to restart iTunes for this to happen).
Note, in some cases, the most logical Album Artist is "Various Artists".
Of course, while you're at it, verify the Album name is the same for all tracks.

Lightroom does not support duo toned images. Why? Incredible that it does not!

Lightroom does not support duo toned images. Why? Incredible that it does not!

Lightroom does 'split-toning', but I suspect that's not what you're after.
A duo-tone in offset print terms refers to a BW image printed with black and one additional colour. LR however works only in the RGB colour model, so you need to resort to e.g. Photoshop for duo-tone (or CMYK) conversions.

Aperture split-tone adjustment?

I just switched from using Adobe Lightroom beta 4 to Aperture 1.5. Is it just me or is there really no way to make duotone or split-tone conversions in Aperture? I've been able to get some great looks with this feature in Lightroom (which has been available since beta 1) similar to cross-processing, etc.
This seems an incredible oversight by Apple as I know that many wedding shooters and fine artists use split-toning all the time.
Am I missing something?
G5 Dual 2.0 Mac OS X (10.4.8)

Thanks for your post. I actually found somewhat of a work-around to my problem. I'm not sure where the selective recolor adjustment is in Aperture but I was able to achieve a cross-process-type color adjustment by experimenting with the tint adjuster within the Exposure module. I adjusted shadows, highlights and mid-tones and am fairly happy with the result.
In order to apply this type of adjustment to a black and white image, I think you have to import one because, when you apply the monochrome mixer to convert your image to black and white, you're unable to apply different tones/tints to various tonalities of the image because the mixer over-rides the tint adjustment.
On another note, can anyone tell me how to apply a vignette adjustment in Aperture?

FAQ: What are the JDI (Just Do It) features in Photoshop?

What are JDI features? They're "Just Do It" features: small features that don't take a lot of time to implement or test and seem like an obvious improvement.
JDI list for Photoshop CC
JDI features in Photoshop CS6, by category:
Automation
Contact Sheet II has been restored as an Automate option
PDF Presentation and Layer Comps to PDF have been restored as Automate options
Brushes
Add ability to record brush strokes in actions with "Allow Tool Recording" option
Brightness/contrast slider for textures when painting
Brush projection for static tips
Brush tip cursor reflects brush pose and jitter for round and captured tips
HUD brush resize and hardness can now change opacity - [Control] + [Option] + click drag up/down with General>Preferences> "Vary Round Brush Hardness based on HUD vertical movement" unchecked
Increase maximum brush size to 5000px
Change color dynamics to per stroke instead of per tip (user option for old behavior)
Channels
Enable Split Channels for documents with single layer (so you can split simple transparency)
Color Picker
allow clipboard paste into hex field with # in contents (i.e. #aabbcc), or 0x (i.e. 0xAABBCC)
allow shortcut hex values (i.e. #123)
Eyedropper
Add ignore adjustment layers options bar item for the eyedropper
New mode for eyedropper to select layers current and below
Show the sample size popup for the various eyedropper tools (black point, white point, etc.)
File Formats
Allow for reading more bit depths in TIFF files
Give the user choices regarding how they want transparency treated in OpenEXR on file open and save
Read BIGTIFF format (TIFF files over 4 Gig)
Read common stereo image pair formats (JPS, MPO, PNS)
GPU
Increased GPU stability by prequalifying GPUs on the fly before use
Grammar
Grammar policed throughout app
Use consistent grammar style in the title of dialog windows (no commands such as "Choose a color:")
Image Resizing
Auto-select the best resample method based on the type of resize (bicubic-automatic)
Importing
(Macintosh only) Import images from devices provides ImageKit scanning and camera acquisition support
Layers
Add bicubic sharper & bicubic smoother options when free transforming layers (menu in options bar)
Add dither options to Layer Styles for Gradient Overlay and Gradient Stroke
Allow 00 or Shift 00 to work when setting layer/fill opacity (previously no way to get 0%)
Allow changing color labels on multiple layers at once
Allow changing of blend modes for multiple layers at once
Allow locking of multiple selected layers
CMD+J to duplicate selected layers and layer groups (in addition to layers)
Layer tooltips to include layer name (if defined)
New command to rasterize layer effect into layer, merging the selected layers into themselves (Rasterize Layer Style)
Opt+click on toggle arrows (groups and effects)in layer panel should close all targets
Reorder effects in the layers palette to match the Z-order style/blend mode (bottom most effects in terms of blending order, drop shadow is below the other effects)
Show blend if/Blending Effects badge on layer if they are not default values
Show correct opacity and blend mode values for hidden layers
Tab goes to next layer on inline layer rename, SHIFT + TAB goes to previous
When creating a shape layer, the layer name should not be like "Shape 1" but instead reflect the tool named such as "Rectangle 1"
Liquify
Add option to load last mesh
Increase maximum Liquify brush size to 15,000
Resize Liquify brush with shortcuts: bracket keys [ ] now match same increments in Photoshop
ctrl (win) / cmd (mac) switches to magnifying glass
alt + right click + drag to change brush size (win)
ctrl + alt + left click + drag to change brush size (mac)
Masks
Enable Invert and Threshold adjustments for masks in 32-bit/channel
Plugins
Hold SHIFT during startup to disable Optional and 3rd party plugins
Presets
Add New Document presets for common devices (e.g. iPhone, iPad, etc.)
Add new Gradient Map presets for traditional print toning and split-toning
Sticky reorganization of tool presets (changes persist after relaunch)
New HDR Pro presets from RC Concepcion and Scott Kelby
Printing
Add "Edit" button for the description field in the print dialog
Allow print dialog and print preview window to be resized
Allow user to change the "preview well" background color in the print dialog
Allow user to manually position the printed area on the page
Hide color profiles that are inappropriate for currently selected printer when using "Photoshop Manages Color"
Reintroduce "Print selected area", allow user to modify selection in print dialog
Save
Add warning message that 16-bit images cannot display their file size in the Save as JPEG dialog
SDK
Add ability to access tool name associated with the tool preset name via scripting
Add the ability to return an array of guides in a document from the scripting SDK
Selections
Make the marquee, lasso, and mask panel feather values support decimal places like the feather dialog
Remember feather radius when showing dialog for selection from a path
Transform
Don't hide smart object icon when transforming a layer
Improve dragging of vector curves
Rotate 90 with even x odd pixel dimension to not land on a half pixel position
Preference to disable auto-rotate on open
Type
Add command to insert "lorem ipsum" for type
Added Gamma rendering parameter for better text rendering
UI
[Windows] New/open document to context click on a document tab (has always been on Mac, now Windows too)
Add "Don't show again" checkbox to Purge warnings
Remove the app bar and reduce the drag/app bar over 30%

1. Mainstage - Even though I probably won't use Logic for live performance much, I love how simple, clean, and intuitive the interface looks. I will probably use this when composing as it seems to be one of the easiest ways to route drum pads, create keyboard layers, etc. really quickly, and the interface is very inviting.
2. Delay designer looks really fun. I remember spending 30 minutes once in Sonar trying to get the stupid delay to do a really simple thing. I finally gave up and layered the audio data to make my own delay because it didn't give me enough control to make it happen in the plugin. It looks like I could have just drawn it into the Delay Designer and been done with it.
3. Import from Garageband - Not a new feature, but I love using Garageband as a musical notepad when all I want to do is create something simple or jot down an idea. In this period, I don't need all the features of Logic, but I will eventually, and then I just open it up in Logic and get more advanced.

Photoshop CS6 Sneak Peek #5

Look at the Layers Panel - I wonder what the new tools represent:
While hard to read check out the "JDI" List:
A readable "JDI" List:
Contact Sheet II has been restored as an Automate option
PDF Presentation has been restored as an Automate option.
HUD brush resize and hardness can now change opacity (CTRL-OPTION up/down)
Increase brush size to 5000px
User option per tip for color dynamics
Brush tip cursor reflects brush pose and jitter for round and captured tips
Brightness/Contrast slider for textures when painting
Brush projection for static tips
Add ability to record brush strokes in actions with "Allow Tool Recording" option
Enable Split Channels for documents with layers
Select Hex field by default and allow clip-board past with # in contents (i.e. #ffffff)
She the sample size for pop-ups for the various eyedropper tools (block point, white point, etc.)
Add ignore adjustment layers options bar item for the eyedropper
New mode for eyedropper to select layers current and below
Read common stereo image pair formats (JPS, PNS)
Allow for more bit depths in TIFF files
Read BIGTIFF format
Give the user the choices regarding how they want transparency treated in Open
EXR on file open
Increased GPU stability by prequalifying GPUs on the fly before use
Grammar policed throughout app
Use consistent grammar style in the title of dialog windows (no commands such as "Choose a color:")
Auto select the best re-sample method based on type of resize
Import images from devices provides Image
Kit scanning and camera acquisition support
Add a contextual menu item that deletes a layer effect not just disables it
Add dither options to Layer Styles for Gradient Overlay and Gradient Stroke
Allow 00 or Shift 00 to work when setting layer/fill opacity when free transforming layers
Allow changing of blend modes for multiple layers at once
Allow locking of multiple layers
CMD+J to duplicate selected layers and layer groups (in addition to layers)
Allow changing color labels to multiple layers at once
Layer tootips to include layer name (If defined)
Opt-click to toggle arrows (groups and effects) in layers panel should close all targets
Show blend if/blending effect badge on layer
Show correct opacity and blend mode values for hidden layers
Tab goes to next layer on inline layer rename, SHIFT+TAB goes to previous
When creating a shape layer, the layer name should not be like 'Shape 1" but instead reflect the tool names such as "Rectangle 1"
New command to raster layer effects into layer, merging the selected layers into themselves
Reorder effects in the layers palette to match the Z-Order style/blend mode (bottom most effects in terms of blending order, drop shadow is below the other effects)
Resize Liquify brush with shortcuts
Increase maximum Liquify brush size
Add options to load last mesh
Enable Invert and Threshold adjustments for mask in 32-bit
Hold SHIFT during startup to disable 3rd party plugins
Add new Gradient Map presets for toning and split toning
Add new documents presets for common devices (e.g iPhone, iPad, etc.)
Sticky reorganization of tools presets (changes persist after relaunch)
Add "Edit" button for the description field in the print dialog
Hide color profiles that are inappropriate for currently selected printer when using "Photoshop Manages Color"
Allow user to change the "preview well" background color in print dialog
Allow print dialog and print preview to be resized
Allow users to manually position the printed area on the page
Reintroduce "Print selected area", allow user to modify selection in print dialog
Add warning message that 16 bit images cannot display their file size in the Save as JPEG dialog
Add ability to access tool name associated with tool preset name via scripting
Add the ability to return an array of guides in a document from the scripting SDK
Make the marquee, lasso, and mask panel feather values support decimal places like the feather dialog
Remember feather radius when showing dialog for selection from a path
Don't hide smart object icon when transforming a layer
Rotate 90 with even x odd pixel dimension to be smooth (bjango.com)
Improved dragging of vector curves
Undo or disable auto-rotate on open
Add command to insert "lorem ipsum" for type
Remove the app bar and reduce the drag/app bar of 30% (Windows)
New/Open document to context click on a document tab (has always been on MAC, now on Windows too)
Add "Don't show again" checkbox to purge warnings
Thoughts?

Contact Sheet is a welcome return. So many features can be adapted. I made this a few years ago by sizing up 40 images, and turning off titles, and ‘Flatten Layers’ when making the contact sheet. It was then fairly simple to FT each layer to give some overlap, and use Layer masks for creative affect.
It was eventually incorperated into a poster for the organisation running the event.
Some interesting JDIs (thanks so much for the typed list!).
The Eye dropper changes appeal to me, and Ctrl J now working on Groups is very welcome. Lots more there, but what worries me is that there are apparently twice as many new JDIs in CS6 as there were in CS5, which makes me think I must be missing a lot of the CS5 JDIs. is there a list somewhere?

Different versions of Camera Raw launch from Bridge

I'm running Mac OS X 10.6.8, Bridge CS 4 (3.0.0.464), Camera Raw 5.0, PSE8, and using a Nikon D5000. I have .jpg files and .nef files. From Bridge I double click on a .nef file and Camera Raw launches - but with limited options (only three tabs for editing - Basic, Detail and Camera Calibration). If I click on a .jpg and choose Open in Camera Raw I get an instance of CR with many more options (Basic, Tone Curve, Detail, HSL / Grayscale, Split Toning, Lens Corrections, Camera Calibration, and Presets).
Wondering how to get the full set of options when editing a .nef file.
(I've tried updating the version of Bridge, resetting preferences and clearing the cache already).

Actually, on looking closer:
When I open the .nef files (double click from Bridge), CR 5.5 launches.
When I open .jpg files (CR icon on toolbar or "Open in Camera Raw" menu option, also from Bridge), CR 5 launches.
How / why would I have two versions - and with different menu options?

Displaying Metadata in Lightroom 4

I want to display the IPTC metadata in Lightroom 4 in the same way as in Bridge CS6 so that it only displays the fields I want to use - is this possible without having to install 3rd party software? I've tried the metadata pop-up menu selections but these either omit items I want to see or include many items which I don't use. I bought Lightroom because it was designed for photographers but I am discovering that there are a number of areas where it is not as flexible as Bridge.

1MickMick wrote:
the plugin is only a beta release but may revisit it once the final version appears.
I recommend trying while it's in beta. The only reason it's in beta is due to recent enhancements that concerned dynamic acquisition of other plugin's metadata. If you're not using that feature, it's beta-ism shouldn't affect you. This is otherwise a mature plugin - very low risk.
I "alpha" tested it, and only turned up one problem, which Jeffrey promptly fixed.
If you want to develop your own metadata viewer presets without resorting to a 3rd party plugin or add-in, you can develop your own:
Put in 'Metadata Field Lists' (you must create folder if not already existing) subfolder of "Lightroom Presets Folder" (see Preferences, Presets tab), a .lua file containing stuff like this:
return {
version   = 1, -- format this file is in (format version #1)
title     = "Rob's Minimal",
id        = "com.robcole.metadatafieldlist.minimal",
type      = "MetadataFieldList",
-- keep plugins alphabetical
items = {
        --   A D O B E
        { "com.adobe.label", label = "File Info" },
        'com.adobe.filename',
        'com.adobe.folder',
        'com.adobe.dateTimeOriginal',
        'com.adobe.dateTimeDigitized.onlyIfUnique',
        'com.adobe.imageCroppedDimensions',
        'com.adobe.separator',
        { "com.adobe.label", label = "Title & Caption" },
        'com.adobe.title',
        { 'com.adobe.caption', height_in_lines = 3 },
        'com.adobe.separator',
        { "com.adobe.label", label = "Shooting Info" },
        'com.adobe.exposureBiasValue',
        'com.adobe.flash',
        'com.adobe.software',
        'com.adobe.separator',
        { "com.adobe.label", label = "Genre, Scene, & Location" },
        'com.adobe.intellectualGenre',
        'com.adobe.scene',
        'com.adobe.location',
        'com.adobe.city',
        'com.adobe.state',
        'com.adobe.country',
        'com.adobe.isoCountryCode',
        'com.robcole.lightroom.CustomMetadata.*',
        'com.robcole.dev.ChangeManager.*',
        'com.robcole.ChangeManager.*',
        'com.robcole.lightroom.metadata.RC_CustomMetadata.*',
        'com.robcole.lightroom.develop.DevAdjust.*',
        'com.adobe.separator',
        --   D E V   M E T A
        { "com.adobe.label", label = "RC Dev Meta" },
        'com.adobe.separator',
        'com.robcole.lightroom.metadata.DevMeta.lastUpdate',
        'com.adobe.separator',
        'com.robcole.lightroom.metadata.DevMeta.ProcessVersion',
        'com.adobe.separator',
        { "com.adobe.label", label = "Camera Calibration" },
        'com.robcole.lightroom.metadata.DevMeta.CameraProfile',
        'com.robcole.lightroom.metadata.DevMeta.ShadowTint',
        'com.robcole.lightroom.metadata.DevMeta.rgbColorMods',
        'com.adobe.separator',
        { "com.adobe.label", label = "Basic" },
        'com.robcole.lightroom.metadata.DevMeta.WhiteBalance',
        'com.robcole.lightroom.metadata.DevMeta.Temperature',
        'com.robcole.lightroom.metadata.DevMeta.Tint',
        'com.robcole.lightroom.metadata.DevMeta.Exposure',
        'com.robcole.lightroom.metadata.DevMeta.HighlightRecovery',
        'com.robcole.lightroom.metadata.DevMeta.FillLight',
        'com.robcole.lightroom.metadata.DevMeta.Shadows',
        'com.robcole.lightroom.metadata.DevMeta.Brightness',
        'com.robcole.lightroom.metadata.DevMeta.Contrast',
        'com.robcole.lightroom.metadata.DevMeta.Clarity',
        'com.robcole.lightroom.metadata.DevMeta.Vibrance',
        'com.robcole.lightroom.metadata.DevMeta.Saturation',
        'com.adobe.separator',
        { "com.adobe.label", label = "Tone Curve" },
        'com.robcole.lightroom.metadata.DevMeta.ToneCurveName',
        'com.robcole.lightroom.metadata.DevMeta.toneCurveParamMods',
        'com.robcole.lightroom.metadata.DevMeta.toneCurvePointMods',
        'com.adobe.separator',
        { "com.adobe.label", label = "HSL / Color / B & W" },
        'com.robcole.lightroom.metadata.DevMeta.colorType',
        'com.robcole.lightroom.metadata.DevMeta.colorMods',
        'com.adobe.separator',
        { "com.adobe.label", label = "Split Toning" },
        'com.robcole.lightroom.metadata.DevMeta.splitToning',
        'com.adobe.separator',
        { "com.adobe.label", label = "Detail" },
        'com.robcole.lightroom.metadata.DevMeta.Sharpness',
        'com.robcole.lightroom.metadata.DevMeta.SharpenRadius',
        'com.robcole.lightroom.metadata.DevMeta.SharpenDetail',
        'com.robcole.lightroom.metadata.DevMeta.SharpenEdgeMasking',
        'com.adobe.separator',
        'com.robcole.lightroom.metadata.DevMeta.LuminanceSmoothing',
        'com.robcole.lightroom.metadata.DevMeta.LuminanceNoiseReductionDetail',
        'com.robcole.lightroom.metadata.DevMeta.LuminanceNoiseReductionContrast',
        'com.adobe.separator',
        'com.robcole.lightroom.metadata.DevMeta.ColorNoiseReduction',
        'com.robcole.lightroom.metadata.DevMeta.ColorNoiseReductionDetail',
        'com.adobe.separator',
        { "com.adobe.label", label = "Lens Corrections" },
        'com.robcole.lightroom.metadata.DevMeta.lensDistortion',
        'com.robcole.lightroom.metadata.DevMeta.lensVignetting',
        'com.robcole.lightroom.metadata.DevMeta.lensCa',
        'com.robcole.lightroom.metadata.DevMeta.perspective',
        'com.adobe.separator',
        { "com.adobe.label", label = "Effects" },
        'com.robcole.lightroom.metadata.DevMeta.postCropVignette',
        'com.robcole.lightroom.metadata.DevMeta.grain',
        'com.adobe.separator',
        { "com.adobe.label", label = "Crop, Locals, & Retouch" },
        'com.robcole.lightroom.metadata.DevMeta.retouched',
        'com.robcole.lightroom.metadata.DevMeta.redeye',
        'com.robcole.lightroom.metadata.DevMeta.gradients',
        'com.robcole.lightroom.metadata.DevMeta.brushes',
        'com.adobe.separator',
        {"com.adobe.label", label="RC Exif Meta" },
        'com.robcole.develop.ExifMeta.lastUpdate',
        'com.adobe.separator',
        { 'com.adobe.label', label = 'SubIFD1' },
        'com.robcole.develop.ExifMeta.SubIFD1_BitsPerSample',
        'com.adobe.separator',
        { formatter = 'com.robcole.develop.ExifMeta.bigBlock', topLabel=true },
        --   N X   T O O
        'com.adobe.separator',
        -- { "com.adobe.label", label = "RC Nx Too" }, -- The label is automatic when * is used.
        'com.robcole.lightroom.NxToo.*',
PS - Lemmeno if you want more details...
Rob

Strange colour cast in LR3 with Canon G11 RAW

Hi all,
I recently bought Lightroom 3 to work with the RAW output from my Canon G11. The majority of the shots want to process are taken underwater around the UK coast. I'm having an issue with colour casts which I hope someone may be able to shed some light on.
With these underwater shots LR3 seems to import them with a very strong green colour cast, even though, when diving, I set the manual white balance at regular intervals. By comparison, Canon DPP imports the RAW files correctly (what I consider correct), and I get the same correct results with Raw Therapee, GIMP and Capture 1. PhotoShop Elements gives the same results as LR3, but I assume they both use ACR 6.1.
I would expect Canon DPP to be correct as it is processing it's own RAW files, but as the other RAW converters match the Canon output, I get the feeling that my problem is with LR3, or possibly ACR. I've scanned both the Adobe LR forum and ACR forum, but can not see any posts where people are having similar issues to me. I did find several post's saying that LR3's support of the Canon G11 was now finished, maybe it has just been tuned for land based shots, not underwater.
I have tried using Adobe DNG Converter, to no avail, and I have also tried all the white balance pre-sets within LR3. Even the custom white balance picker does not give sensible results, it just changes the shots to a slightly different shade of green.
Playing around with other setting in LR3 can make slight improvements, but it's a slow, shot by shot process, and still does not produce a usable finished product, or even a reasonable starting point for fine tuning.
I have found that I can use Canon DPP to output to TIF, which LR3 then opens correctly, but I feel that as I'm not then working with the RAW file, I'm not going to get the best out of LR3's features.
Is there some particular setting within LR3 or ACR that I have missed ? If not, am I actually loosing detail by converting to TIF before opening LR3 ?
I've attached example output from LR3 and DPP. Both use white balance of 'As Shot', and neither have had any processing done on them. The LR3 shot looks lees green that it does in LR3, I assume thats because I've saved it as a low res JPG.
Thanks for any advise people can give.
LR3 output
DPP output

Thanks for that answer, it shows that I may have some settings which need tweaking.
All the LR3 settings are as standard when first loaded, playing with this bunch of shots (about 20 in all) was the first thing I ever tried in it. I wouldn't even know how to apply split toning even if I wanted to (you probably guessed by now that I'm a new user to this software). All the on land shots I've messed around with import correctly, so it's definitly only the underwater ones.
One thing that I've just remembered, may be important, when I select shots to import in to LR3, the thumbnails look fine. It's only when the import process has finished the green colour cast appears. It's almost as if something is being applied right at the last minute.
I haven't tried to white balance the JPEG. I assumed it wouldn't work with the RAW, it would be the same with the JPEG.
I did process some shots using PS Elements a while ago, and don't remember any stong colour casts in that. They were from shallow fresh water rather than deeper salt water, may make a differeence. I believe the ACR plug in with PSE 8 at the time was in the 5.x range. I did manually upgrade the ACR plug in for PSE 8 to 6.1 after loading LR3. I can try backing that out and seeing if I still get the colour cast.
Hmmm, it's looking more and more like a problem with ACR 6.1. At a guess I'd say it's not interpreting the 'as shot' information correctly, or completly ignoring it.
I'll have a go with white balancing the JPEG when I get home. If you can do it, but I can't, it points directly with a setting on my system. I'll also have a look at uploading the RAW file somewhere.
Cheers

E-pl1 yellow/green colour blotches at high iso

Hello to all members and Adobe Team.
i use lightroom 3.3 and i have made a comparison between my 2 cameras with the same sensor , e-p1 and e-pl1 and e-p1, and while they have identical grain like pattern and rendering at high iso (which is what i was expecting since they have the same sensor and only the Anti-Aliasing filter is lighter in e-pl1), colour rendering at high iso is very different (at low iso its different but i have profiles with colorchecker and the differences are minor).
So i will post raw files in tungsten lighting (the most demanding for high iso-.-- 1600 i mean and even at 800 i can clearly see the problems i am describing).
Olympus e-pL1 white balance is really, but really bad.. everything turns green (its really bothering to adjust and affects low iso images too... i spent so much time correcting the green cast but there is something that i can never get right).
There are green/yellow/orange and purple/blue blotches at high iso.... it happens in tungsten lighting and fluorescent (less so at fluorescent, but still), those green/yellow blotches appear in uniform color areas that are in shadows its like a tint and there is nothing of this sort in e-p1 at iso1600 and even much higher isos have this kind of noise well distributed by all colour channels (they are usually small blotches/spots a little to the irregular round shap but sometimes have big size and very irregular shape).
I believe its something in the blue channel but in the green channel also!
Reds and colours at high iso are much more saturated in e-pl1 than in e-p1 (and from imaging-resource samples and dpreview e-pl1 its one of the cameras which has more saturated colours at high iso which sometimes it looks they are clipping channels).
By the way this is not something just related to these testfiles it happens in almost all high iso files i believe different colour rendereing/demosaic would do much better.
Here are the raw files, the first one is Olympus e-pl1:
http://hotfile.com/dl/117408120/41b0f01/P5109784.ORF.html
The second one is Olympus e-p1:
http://hotfile.com/dl/117408591/5eab708/P5107466.ORF.html
Notice in the blue trip Samsonite bag there are much more blue blotches with the chroma noise slider at 0 (even at 25 there is a difference in Dynamic range between e-p1 and e-pl1, when all review sites clearly say that e-pl1 is a little better at high iso even in raw, and its not just because it has more detail that you can use to kill a little grain and make things equal).
Please dont post or use this photos as examples as they are not flattering... they are just for Adobe engineers or private testing by users not for posting in other forums.
So Olympus cameras and Panasonic camera sensors all exibiht this problem but i have never seen something like this.... the cameras are quite good at iso1600 except all shadows have that tint even with chroma noise sliders at 40 they never disappear ... is it possible to solve the colour demosaicing and left intact the luminance one?
Please be kind to m43 cameras since they are selling very well and i think they dont have proper support... ( i bet if this was a problem with Canon or Nikon it would be corrected in a time... we dont have coustum profiles but there is a solution for that... although for this problem we dont have better solution since its too selective and only in shadows).
By the way in Rawtherapee i have made adjustments in channel mixer (the levels of green that the blue channel has are very high; so i took a little green (and just a tiny bit of red) and the shadow areas start getting rid of the green dots, so here it is a HINT) and there were many improvements almost making them disappear... however i want to use lightroom not rawtherapee with AMAZE demosaicing.
Oh by the way look at Rawtherapee way of removing colour moiré with AMAze algorithm its fantastic it gives you detail back and no colour moire which shows a lot with e-pl1 in lightroom (but i know its because of lighter AA filter and its not a priority).
Thanks for your help!

Well if you search in the middle of the image you will see at 100% that the open bag has those green spots where it should be gray! and near the door at bottom left of the image you will see those green spots that are very distracting because they happen in shadow areas... (and by the way the red cloth is not the same red as the e-p1 image and its noticeable even at small size).
What white balance did you use?
I know these are just test shots but they appear in people shots too..
Im going to prove that ACR interpretation of olympus auto white balance in olympus e-pl1 is just horrenduos with this raw file (by the way i use this one since its one of the ones with less publicity and with the most straight forward uploading, if you know one that is better to upload tell me please).
http://hotfile.com/dl/117520711/fceaefb/P4248867.ORF.html
Now try white balance at 2850 and tint at 0 (things improve).
Now look at the clock.. it has a contour with the wall that is green/yellow its that kind of problem (i have noise reduction in teh color at 50 and in the detail at 25 to try to mitigate its effect but still not much luck).
Next i will go to the HSL tools in lightroom and select yellow color and select saturation tab and dial in -30 for yellow and voilá! it has reached the kind of performance that i see with e-p1 (a little worse but almost unnoticeable),.. adobe should correct this problem in lightroom 3.5 please.
then i used the split toning slider and in the shadows i dial in hue at 340 and saturation at 10 and there was a bigger reduction in the yellow spots so its the default rendering that is a mess (by the way sometimes if i reduce saturation in the green and in the blue channel it helps a little too like -30 in each) so try to correct these please, if possible by not dessaturate the channels but with an algorithm that detects only those kinds of spots and not all yellow info like you do in the red channel so well!!
Thanks

Pink hue with RAW?

Just loading some photos from a gig last night and I notice that as I load the picture, it initially looks good, but then when it's finished loading the final picture has a pinkish hue that wasn't there initially and is quite unpleasant. This seems to only happen when I load RAW images. What is it and what's your suggested way of removing it?

The initial “look” is from the camera-embedded JPG. Once the image is fully “loaded” you are seeing the Adobe-rendering.
Some setting in LR could be non-neutral accidentally, either by applying a preset during develop or a LR default being set strangely. Things that affect color would be in the HSL area, the tone curve with separate RGB adjustments, the split toning, or the camera calibration area. Look for non-zero sliders in all of those areas.
If the image is very high-ISO, it is perhaps just a preponderance of noise that is showing through which can sometimes be pinkish because there are half-as-many red and blue photosites as there are green ones so the noise tends to be in the red and blue, more.
Another thing could be a bad monitor profile. You can experiment by setting the monitor profile to sRGB-whatever if it is currently something that came from the manufacturer.

Boring images with raw...

When I shoot in raw with my EOS 600D an import them to lightroom, the images gets a bit boring, darker and less colorful then they were in camera. If i take the exact same picture in jpeg an import it to lightroom, the image is as it were in camera. Why? And is there something I can do too keep my images light, clear and colorful in raw as well?

MrKjetilDale wrote:
darker
Often due to settings like Nikon's Active D-Lighting which reduce real exposure in the interest of preserving highlights, followed by a subsequent boost to exposure by camera software/firmware which Lightroom does not do (I call this "ETTL" (expose to the left) for when highlights/clipping is critical). Consider turning intelli-contrast settings off in camera, or just bump exposure when photos come in dark.
MrKjetilDale wrote:
less colorful
Mostly a camera profile issue. e.g. if you shoot with neutral in camera, and import with vivid, the opposite will be true (they will be more colorful in Lr than they were in camera). But also, Lr/Adobe-Standard tends to have (brighter and) less saturated highlights than some camera company software, which I think is sometimes good, and sometimes not. The brightness part can be controlled using basics and/or tone curve and/or (custom?) camera profile, but the color part of this requires split toning and/or RGB curves - can NOT be controlled via HSL sliders, nor DNG Profile Editor (since you can't set control points which depend on luminance - you can set HSL based on H & S, but not 'L' ).
Tip: this tone curve can be used in conjunction with Adobe Standard for toning which more closely matches camera emulation profiles, but with Adobe Standard color:
<x:xmpmeta xmlns:x="adobe:ns:meta/" x:xmptk="Adobe XMP Core 5.5-c002 1.148022, 2012/07/15-18:06:45">
<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#">
<rdf:Description rdf:about=""
xmlns:crs="http://ns.adobe.com/camera-raw-settings/1.0/"
crs:Version="8.1"
crs:ToneCurveName="Custom"
crs:UprightVersion="134217728"
crs:UprightCenterMode="0"
crs:UprightCenterNormX="0.5"
crs:UprightCenterNormY="0.5"
crs:UprightFocalMode="0"
crs:UprightFocalLength35mm="35"
crs:UprightPreview="False"
crs:UprightTransformCount="0"
crs:HasSettings="True">
<crs:ToneCurve>
<rdf:Seq>
<rdf:li>0, 0</rdf:li>
<rdf:li>99, 92</rdf:li>
<rdf:li>166, 156</rdf:li>
<rdf:li>231, 223</rdf:li>
<rdf:li>255, 255</rdf:li>
</rdf:Seq>
</crs:ToneCurve>
<crs:ToneCurveRed>
<rdf:Seq>
<rdf:li>0, 0</rdf:li>
<rdf:li>255, 255</rdf:li>
</rdf:Seq>
</crs:ToneCurveRed>
<crs:ToneCurveGreen>
<rdf:Seq>
<rdf:li>0, 0</rdf:li>
<rdf:li>255, 255</rdf:li>
</rdf:Seq>
</crs:ToneCurveGreen>
<crs:ToneCurveBlue>
<rdf:Seq>
<rdf:li>0, 0</rdf:li>
<rdf:li>255, 255</rdf:li>
</rdf:Seq>
</crs:ToneCurveBlue>
</rdf:Description>
</rdf:RDF>
</x:xmpmeta>
Instructions:
* save in file named "rc Standard Debright.xmp" (or any other filename you prefer, as long as it ends with ".xmp") in the correct folder, which for me is:
C:\Users\Me\AppData\Roaming\Adobe\CameraRaw\Curves
(for you, it will be different, but similar...).
Then, restart Lightroom. - you'll find it in the "Point Curve" drop-down menu.
(it can also be "imported" in DNG Profile Editor, although you may have to reformat - I can't remember...)
Warning: in my opinion, it is great for lower key highlights (e.g. to debrighten over-bright sunsets), but not so great if you prefer a contrastier (brighter highlights) image.
Consider bumping exposure a notch when using it.
Acknowledgement: I got this tone curve from Mark Sirota (sp?).
Rob

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