R.G.B Curves in LR3

Hi,
I need help.
How do I get separate color (R. G. B) curves in LR3? The tone curve tool only shows one curve. It appears that this one curve is the luminance or RGB curve.
Is there any way, for instance, to get blue curve separately?
The slide in the color tool does not work the same way.
Thanks.

I had no idea it did not have this feature. I thought I was not looking at the right place.

Similar Messages

R.G.B Curves in ACR6/LR3

Hi,
I need help.
How do I get separate color (R. G. B) curves in LR3/ACR6? The tone curve tool only shows one curve. It appears that this one curve is the luminance or RGB curve.
Is there any way, for instance, to get blue curve separately?
The slide in the color tool does not work the same way.
Thanks.

I know of no way to manipulate R, G, and B tone curves separately in Camera Raw.
But you can always complete the conversion and do the Curves work in Photoshop proper via Image - Adjust - Curves. You'll likely want to convert to deep (16 bit) data and make sure you convert to a profile that can accept the entire gamut of your image data (e.g., ProPhoto RGB).
You could try the various different profiles provided (available on the 7th tab), and there is the possibility of setting up your very own profile, using the profile editor available from Adobe Labs. That gets a little geeky, but it's doable.
-Noel

Custom tone curve

When I adjust RGB values on the curve (eg I pull down the blue to warm things up a bit) the "linear" in the option menu below the curve changes to "custom". When I then change the tone curve to medium or strong contrast, it nicely obeys and thus so, but what then surprises me is that the Blue curve in the RGB settings is again totally flattened out...does it retain the prior adjustment or does it just ignore it ? I only noticed just now on a relatively ok picture so it's easily enough to check but still it's odd that an earlier slider adjustment seems to disappear.
Anyone who can enlighten me on this ?
Tx. Frederic

Not sure if I understand. Let me try to explain my workflow : usually i start with camera profile (i'm a landscape guy) then basic panel tweaks,color temp if needed, a bit of the cool shadows/highlights, some blacks,clarity etc. then perhaps a graduated filter or lens profile...i hardly ever use the contrast slider (I never liked it in previous LR versions and haven't really touched it now) - BUT then my next move usually is to fool around with the tone curve, before (LR3) mostly via the sliders, now (LR4) mostly via the presets (linear,medium,strong) because I get confused between highlights/whites in BP then highlights/lights etc in TC panel, so I don't bother with those sliders in the TC panel anymore and I just click the presets. Now at long last back to my question : sometimes I try to use the new tone curve RGB to correct a blue tone or so, and then the preset name changes into "custom" and at the same time the curve nicely slopes the way I nudged it. When I then click on one of the presets in tone curve to L,M, or Strong the curve readjusts again.if I then check back on RGB blue channel again there is a nice straight diagonal as if nothing ever happened but the color tone seems to be preserved..net net it seems to do the right things to the pictures but the curve tells something different and that's what I don't get...
Sorry for the all the talk but I don't know how to explain it better. Perhaps I should just post a video of the dam thing.
Cheers. Frederic

Simply stunning! (LR4 rendering engine)

At first I hesitated to upgrade, because the LR extension seemed not relevant to my personal preferences. In case of LR2 -> LR3 transition the decision was obvious. But as soon I begun to experiment with the new Developer Module, I understood how significant is the step-up in its capabilities. I think that currently no one has the expertise and vision to provide any serious competitor to Lightroom. Below is an example of LR4 detail recovery: My wife uses the Lumix superzooms and sometimes she forgets to change the exposure mode properly. Here she kept the FZ35 camera in "M" and overexposed severely (the FZ35 compensates the image for the LCD display, and this "intelligent" function gives a false indication of a proper result!) This the *.RW2 file as imported into Lightroom:
A total loss... I tried the new LR4 Whites and Highlights sliders and got this stunning improvement:
I literally could not believe my eyes. To compare, this is the same image generated by LR3.6 with Recovery=100:
Congrats to the scientists and developers at Adobe, Lightroom is truly a great tool for photography with no equal. Atop of the scientific advances, with every major upgrade Adobe manages to provide a compelling package of novelty for the money!
This great recovery latitude extends now also into shadow areas. Its application reaches also into properly exposed images, of course in terms of camera setting. Whenever there still is chromatic information, LR4 seem capable to recover it with astonishing ability to preserve the hue (Pottery on Kauai, Canon 7D in P-mode, full sun outside, no flash used):
Maybe working more with curves in LR3 could provide a comparable results, but now with the new Basic Development I can really get some usable results quickly.
Foremost we can recover blown out skies in high contrast situations, like in this Na Pali image (Canon 7D P-mode):
12 versus 14bit raw files surely play a role, but with 12bit LR4 can also do wonders: Nikon 1:
Nikon D7000: These waves look just splendid, also the detail in shadows show up. Time effort 10-15sec. I am sure a perfectionist would do much more detail work, for example on the sky:
Brief tests with HDR (Photomatix Pro) show that often LR4 seem to mak a better job with one image, without the masking drama and noise in Photomatix!
And as it seems, more it come from Adobe. The V4.1 provides the brand new defringing controls, a salvation for an entire bunch of our images!
Thomas

What I do know is that with LR4 I can get detail especially in highlights and shadows that I can't get with LR3 (or Nikon Capture NX2).
For example:
Details in cloud higlights, breaking waves and snow.
Getting good results from very high-contrast raw images.
Recovering slightly burned-out highlights in flowers
I've lost count of the number of old images where I've gone back to them with LR4 and in a couple of minutes produced markedly better results. In theory one should be able to get the same results with tone curves in LR3 or Nikon NX2 - but I've gone back to LR3 and NX2 with a number of photos, and been unable to replicate the LR4 results without considerable effort, if at all.

Lr3 Tone curve Tutorials ?

I've done some googles for Tone Curve Tutorials but have not had much luck finding much - can you folks point me to some well explained or 'good' ones please?
Thank-you ~

Ian, thanks a lot for your interest in my problem.
Ian Lyons wrote:
Not sure what your issue issue because you can place as many or a few points on the Point Curve as you need to maintain control.
My problem is that the global effect a single point move entails forces me to use a large number of points. In order to adjust a local region (e.g., lift a small range of the midtones but leave everything else the same), I have to use at least seven points. Try this:
Start from a straight, unedited curve.
Insert a point at ~36.9 (X-axis) and move it up to 50% (Y-axis)
Insert a point at ~67.8 and move it down to 50%
Insert another point at ~50 (between the first two) and keep moving it up and down from 20% to 80%; watch the shape of the overall curve while doing this.
See how the "highlights" and "blacks" parts of the curve are heaviliy influenced while you are moving that middle point? Because of this, I find myself putting in more and more points to stop areas I don't want to see affected from changing shape. Try yourself to insert points to stop the local effect you want to achieve from having a global effect. You'll find that your additional "stop the effect"-points will themselves cause a non-local effect that you'll have to stop with further "stop"-points, etc.
I do realise that the tone curve needs to be smooth (mathematically, there shouldn't be any discontinuities in its first-order, or even second-order, derivation). I therefore understand the rationale of using splines and I also realise that LR is not the only program handling tone curves this way. However, I think the effect of moving one point is too global (i.e., non-local).
Still assuming the scenario above, try to put two "stop the global effect"-points at ~78/78 and 88/88 (in an attempt to have the highlight region unaffected by moving the point at 50. Then go back to step 4, i.e., move the point at 50 up and down. See how the shape of the curve between 88 and 100 still changes with large moves of the point at 50? That effect is completely unnecessary to make the curve smooth. It is just a side effect of using a particular kind of spline for the tone curve.
I hope I better expressed myself this time. Please let me know if a screenshot would help. It would be great if you could try the scenario and see whether you agree that some of the non-local effects are not really what the image editor intends.
P.S.: For recreating effects similar to that of the parametric control in a more precise way, I agree that the point edit mode works well. It is the "adjust small ranges of tonal shades" use case where it fails. I don't need the latter often but when I do, using the points is very laborious and often I feel like stopping before I got what I wanted because it is just too much of a hassle to fight all the ripple through effects.

Lightroom 2.6 trial version camera raw tone curve questions + 4 more

1- How do you reduce the 100% point on the curve (upper right) and raise the 0% point black portion as can been executed in CS4 photoshop bridge camera raw? Example I want a photo adjusted to have a 5% dot value in the white area and a 95% dot value in the black area. Note: CS4 bridge camera raw can lower the white point and raise the black point by pulling the points up or down.
2- After cataloging three internal drives how does one do a search across the three(3) drives simultaneously to find a file name to look for redundancy or whatever without launching each catalog separately?
3- How can an initially created catalog name be changed after the catalog is created?
4- How can a file or several files be added to a catalog after the catalog is created - is there a way to immediately refresh to show newly added files?
5- Is there a way to show Illustrator CS4 files in lightroom 2.6 or a utility to convert them to acceptable LR formats to be visible?

vic,
1. You can do this natively in the LR3 beta 2, but not easily in LR2. You can edit the curve in Camera Raw and save it as a preset, then import that into LR. I don't know the details, but I've seen posts here that talk about it.
2. You can't. That's why it's lots better to have only one catalogue. The images can be spread across as many drives as you want, and that one catalogue can keep track of them all.
3. Use your operating system to rename the catalogue file and its associated top-level folder of previews.
4. You can Import or Synchronize.
5. LR will just deal with JPG, TIFF, DNG, PSD, and various raw files. I don't know of a utility that will convert Illustrator files to one of those formats. If I were you, I'd search in Google.
Hal

LR3: Exports are dark and over-saturated

... or: LR3 shows everything dull and to light...
I've upload an image and described my problem her:
http://www.flickr.com/photos/tcdk/4753052290/
But here it is:
I'm having some color and curve problems with my exports, it all looks to dark and to saturated when I export from Lightroom 3. So I'm trying to figure out what's happening.
Here's the setup:
Windows XP
Nvidia 8600GT graphics card
One Dell 2407WFPHC screen
One Dell 2408WFP screen (my main)
Huey Pro color calibration kit (software version 1.51)
Everything calibrated. It looks good to me when I import in lightroom (from raw from Pentax K20D, and Panasonic LX3)
Exporting to jpeg (sRGB) or tiff and viewing in anything else the colors are darker and over-saturated (tried in firefox (profile aware), Internet Explorer, irfanview and chrome). Loading the jpeg into Lightroom and comparing it to the RAW, they look the same (not dark or over-saturated).
What you see above is a screen grab, of a test chart viewed in Lightroom and IrfanView. They where just imported/loaded - nothing was done. No development settings are applied as part of my LR3 import.
The colors in lightroom 3 are dull compared to the IrfanView.
Sample rgb values:
1 red:
Lightroom 224,52,27 (not that pure)
Irfanview 254,0,0 (~pure red)
4 purple:
Lightroom: 124,1,251
irfanview: 131,0,254
9 green:
lightroom: 126,255,54 (far from pure green)
irfanview: 0,255,3 (pure green)
The red and the green are the worst - a lot more "energy" in them. So imagine the reverse process. I've a photo in Lightroom and it looks good to me. I export it and every 126,255,54 gets made into pure green. Darker and over-saturated!
I've no idea what's happning or what to do about it. I've tried everything I can think about.
I don't really think I had this issue with LR2 - not enough to notice anyway.
System info:
Lightroom version: 3.0 [677000]
Operating system: Microsoft Windows XP Professional Service Pack 3 (Build 2600)
Version: 5.1 [2600]
Application architecture: x86
System architecture: x86
Physical processor count: 2
Processor speed: 1,8 GHz
Built-in memory: 3007,1 MB
Real memory available to Lightroom: 716,8 MB
Real memory used by Lightroom: 278,4 MB (38,8%)
Virtual memory used by Lightroom: 266,7 MB
Memory cache size: 49,7 MB
System DPI setting: 96 DPI
Displays: 1) 1200x1920, 2) 1920x1200
Application folder: C:\Program Files\Adobe\Adobe Photoshop Lightroom 3
Library Path: P:\Lightroom\Lightroom 3 Catalog\Lightroom 3 Catalog\Lightroom 3 Catalog.lrcat
Settings Folder: C:\Documents and Settings\Thomas Christensen\Application Data\Adobe\Lightroom

So in my case it seems I'm better off running uncalibrated as that seems to produce something more natural across the board than when I use calibration and it goes between extremes, fine or totally wrong... I can see the images fine on my controlled environment but if you're distributing online then things don't work out at all!
This is a very common misconception. Needless to say it is wrong. the only way you can get reasonable colors on everybody else's monitors is to calibrate your display and only trust color managed apps. If you don't calibrate and don't use color managed apps, your output will basically be completely random. At least with calibration and management you will be targeting the standard (sRGB) that most monitors cluster around (that's what they were designed to), so while individual monitors will be more or less random, on average they will show what you intended. If you don't calibrate and manage you will target only your specific monitor. Since this is a wide gamut display, the average viewer (who doesn't calibrate nor color manage) will see a dull desaturated image with respect to what you see.
Bottom line: If you use a wide gamut monitor, calibrate and only trust color managed apps. If you have a normal gamut monitor, calibrate and trust color managed apps the most, but non managed apps will be OK if you use sRGB as your export space. You cannot do away with the calibration step if you care about what others will see.

RGB color space in LR3 - does it convert back to sRGB on export?

First off, I've only had LR3 for two days so I am a complete novice. I've been reading my book and just came across the part about RGB color space. I shoot with and use sRGB, which apparently LR will recognize. However, it states that the develop module uses Lightroom RGB. My question is, when I export my edited photos to PSE8 (or to a folder on my desktop to save and email for my daughter's business), does it export them back as sRGB? I know there is a lot of controversy over the whole RGB thing, but after my research on the matter, I have decided that sRGB is the best for my particular situation. I'm just making sure I don't have to check something or convert them back if they don't automatically change out of LightroomRGB.

ColeeLou2,
Some additional thoughts to what has been said already:
I shoot with and use sRGB, which apparently LR will recognize.
The color space you chose on your camera (sRGB, AdobeRGB) only affects the JPEG rendering in your camera. It does not affect the RAW file, as a RAW file is not in any color space. Upon import of a RAW into LR, it will be rendered in a ProPhoto RGB color space with an sRGB tone curve (Jao will correct me if I'm wrong ) for use within LR.
My question is, when I export my edited photos to PSE8 (or to a folder on my desktop to save and email for my daughter's business),
I would suggest using an sRGB color space upon export for external uses (like emailing to your daughter), but use ProPhotoRGB when going into PSE in external edit. This way you will have all the color information possible available in PSE, and PSE will recognize the ProPhotoRGB color space.
Beat Gossweiler
Switzerland

Folders in LR3

The folders I se in LR3 do not reflect the fodlers on my hard drive. I have used Add Parent Folder which has helped a little but any folders beneath the last one on my list are not visible. For example - I have a folder called Lessons and I have 6 subfolders under that called Lesson1, Lesson2 etc. I csn see the Lessons 1, 2 and 3 folders but cannot see Lessons 4, 5 and 6 and can see no way to display them. Can anyone help?
Many thanks

kingboo54 wrote:
I am just learning LR (as you may have guessed!) and this is clearly part of my learning curve! Thank you - I now understand how the Import works.
Glad to help. If you haven't already seen the Adobe tutorials, you might want to check this out.
http://tv.adobe.com/show/getting-started-with-adobe-photoshop-lightroom-4/

2012 Process Version Alters Exposure/Contrast/Tone Curve

In working with the LR4 beta, I've come across a couple odd results. I imported some image folders containing raw, tiff and jpeg. The images were updated to the 2012 Process Version on import. I noticed that I had not saved out the metadata on the raw files for earlier edits in LR3. I closed LR4, opened LR3, saved out the metadata, reopened LR4, read the metadata from the files and this, unsurprisingly, reverted them back to the 2010 Process Version. When I update the raw images to the 2012 Process Version, the Exposure is reduced by 1 stop and Contrast is set to -33. Additionally, a significant Tone Curve adjustment is made. No such alterations occur to tiff or jpeg files in toggling back and forth between 2010 and 2012.
Please advise.
Thanks.

Eric, I guess what I'm trying to figure out is if they aren't going to 'look' the same then why would that be. Further, if no changes to the file were made (i.e., exposure, recovery, curves, etc) then why would there be such a radical change to the image on updating to a new process version?
As I noted earlier, I don't recall that updating to the 2010PV from the prior made such a change to images. In fact I just tried it. I switched back to 2003, then to 2010 then to 2012. No change to the image going from 2003 to 2010. Big change going from either 2003 to 2012 or 2010 to 2012. To my way of thinking, if I take an image processed with the 2010PV and am happy with the way it looks (it's displayed on my website, I've printed and sold it, etc.) then I update to the 2012 PV I shouldn't have to re-edit the image to get the same 'look'. I understand that due to the different controls some of the positions of the sliders may be different. But the two images shouldn't 'look' different. Take another example. If I've got a set of images from a commercial shoot, have edited them in LR and provided to the client, then I update those images to the 2012PV in LR 4 and the resulting images aren't the same, I've got to spend time (and money) re-editing to get back to what I had before. Does that seem right? It sure doesn't to me. It seems, actually, the exact opposite of what should be.
In the screen grabs above, this is a marked change to the image. It's categorically not just a difference in slider/control positions to get the same 'look'. It's a completely different image with a completely different look. The file has been radically altered. To me, that shouldn't be the case.
EDIT: I guess we were posting at the same time, Eric. Sorry, I understand the explanation but it just doesn't make a lot of sense.

Why curves in ACR acts so different in comparison on other programms?

Similar question I made in LR forum but realize that in here more suitable place.
"Does anybody knows, why Adobe made adjustment of curves in lightroom so different in comparison of curves Photoshop? I mean not of adjustment method, but colour shifts. Darkening by curves in LR makes skin tones very dirty yellow-orange, while photoshop's tends to red, and when lightening in LR skin tones becomes _unpleasant_ pink-orange while in PS becomes acceptable uniform yellow hue. This I checked on the same file (tif). Differenses of colours shifts (LR vs PS) happens even while adjust other sliders, such as brightness and contrast, for example"
As to my taste and preferences, I dont like LR behaviour.
ps. In attachment you can see huge differences. Question is why? For what reason? And will I got this in future versions?
pps. camera profiles and untwisted variants of them have not relation to this behaviour.

>Sounds like you're using and comparing other image editors as a profiling device for your camera that just happens to make your edits fit your taste in color. That's not a recipe for consistency.
Simply I often used curves in PS and when LR has appeared I expected same behavior of curves. I have mistaken.
I see that many PS actions like TRA or Kubbota`s uses this property of PS curves (skin tones darkening shifts to red, lightnening shifts to yellow) to make photos great/pop looking. But I do not want to use PS. Again it requires making aside tiff.
>You're going to have to do some adjustments on every image.
Yes. But most light still incandescent: concerts, private rooms, cafes.
>You might try quick adjustments to the orange and/or yellow sliders in the Hue panel in LR's HSL panel. That's what I have to do to get that reddish hue to skin.
Yes, I do this, but when I touch curves on opposite side I have to adjust hue sliders again. This is not very quick. But for this case I have made many presets of HSL sliders for different curves and simply apply them
>Why not profile the camera shooting Raw under these lights using an X-rite color chart and the DNG Profile Editor or some other camera profiling package?
I will repeat again (do not take offence): Curves still act the same way in spite of right colors achieved by this calibration.
>They seem to lean toward a reddish rendering with better definition out of the box which isn't accurate but is pleasing.
I will read about this technology. Thank you.
In case I have to get correct/right colors now I use self made icc profiles by X-Rite Colormunki device and freeware profiling software (argyll) and custom made color checker with at least 108 patches instead of standard 24. But I have to follow these conditions: 1. Same light. 2. Same settings in developing software (that means I cannot touch any curve, contrast, hue and other sliders therefore why to use LR in general? ). 3. Developing program must operate with icc profile (sadly LR can't do this).
Some addition information about right and pleasant colours: Now I have Canon`s SLR camera, but very love nikon`s colours (camera profiles). By dng profile editor I have applied for my cr2 files nikon's camera profiles and have got truly nikon`s colors without buying nikon camera. Colours exactly the same as in Capture NX in default settings until I start to adjust contrast, curves in LR...
>Also you might try Lightroom 3 Beta which has a new preview rendering algorithm which might include the color effect you see in Photoshop.
I have tried LR3 for a long time ago but see it still have same algorithm of curves and contrast. May be developers add in final release some color manage preferences for choosing working colour space or so.

Brush mode: Tone curve, etc

Well, I'm new for LR, I'm trying to tweak a certain part in the photo by using Tone curve and else, but I don't think the LR would allow me to do that in the "Brush Mode", am I correct?
Because, I need to change some parts in the photo by increasing only red or green or blue, or even highlight and shadow, but I can't do that like Aperture in Mac. Or I do miss any feature control panel in the LR?
Seem like the LR would not give flexibility when working in Brush Mode, is this correct?

mrkavin wrote:
...but sometime it's frustrated when stuck with the LR limitation along the way while the other can do.
I understand.
When I first tried Lightroom (1.4), I was a bit disappointed with the scope of the develop tools available (and did not buy it). When Lightroom 2 included Clarity and Locals it was a big improvement (and I bought it and started using it along with Nx2 & DxO & Photoshop), but it still seemed lean compared to some raw converters (Nx2 as example). I mean, what Lightroom does it does well, for the most part, but full-featured develop tools can not really be touted...
Lr3 is known as the release when Lightroom became a true professional-grade development tool in my opinion: image quality + lens corrections. I applaud Adobe's decision to do just that. No more front-ending with DxO or Nx2 or DPP or CaptureOnePro, or Photoshop + Noise Ninja... I love Lr3 .
Still, I'm hoping Lr4 is known as the release when Lightroom comes of age, develop-module-wise... (distraction removal, more locals, signature auto-masking technology, better color adjustment including rgb curves, ..., and of course fixing of highlight recovery). No more doing without or frequently processing with a pixel editor after basic adjustments in Lightroom... If they do this, I will really-really love Lr4 .
Then in Lr5, Faces & Places & GPS & Collages & HDR & Layers & DLNA Servers & Networked Catalogs, or whatever... - I wont care... (yeah right .
R

LR4: tone curve settings lost after upgrade

I've find an annoying bug in this new version that makes me really crazy.
I've a Nikon D300S and a D7000.
After the importation of the catalog in the new Lightroom 4 all the D7000 .dng files have lost all the tone curve settings (I normally use linear).
The D300S files instead retain the tone curve settings.
It's a very strange behaviour: I've lost more than half of my old photo settings.
It's really frustrating.
Will be resolve soon this problem?
Until that day, for my older works I'll be obliged to continue to use LR3.

I've probably found a sort of workaround!
I've made some "organized" tests and here I report my findings.
Using LR3.5, I prepared a "test catalog" using 4 images from 7 different cameras (28 images total): for each of them, I used both the original nef and the dng converted file (56 files in the catalog), all develop process was set to "2010".
The cameras were Nikon D70, D90, D200, D300s, D700, D5000, D7000.
I applied a strong tone curve to each image in a way that the appearance was heavily characterized.
Before exit LR3.5, I SAVED ALL THE METADATA TO THE FILES.
Opening and converting the catalog using LR4, doesn't show any visual change until I zoom in library or open the develop module: both these operation lead to a flat image with the strong tone curve lost.
Curiously, the history retains the original steps but they are ineffective: histogram and tone curve changes according to the visual change but for some camera the "new" tone curve is "medium contrast", for others (D5000, D90) is "linear", for D300s is "custom" (linear with blacks cut at 9.8%, and this explain my initial impression that D300s's curves were untouched, sorry). This last behavior may depend on the fact that I've different default develop settings depending on the camera serial number.
Finally, the update to the 2012 process only minimally changes the visual appearance and surely doesn't restore the lost tone curves.
And here is the UNEXPECTED WORKAROUND: doing a READ METADATA FROM FILES IT RESTORES THE TONE CURVES (and the 2010 process)! Upgrading the process to 2012 minimally changes the visual appearance again but now the strong tone curve is present and evident.

LR4 Tone Curve default

Why in LR4 is the Tone Curve default set to Custom with a contrast lowering curve? I would like the default to be linear, but I can't remember how I set that up in LR3.

You probably had a preset for your camera in default develop settings, set to LR3- linear tone curve?
And now you have changed it into LR4- linear and have saved this as new develop default?
On this forum we prefer to share findings, so that others can benefit from by reading about it... It is not enough if just your particular issue is solved.
Cornelia

Per channel curves?

In most converters today it is possible to apply color curves. Will it remain as it always was or we can expect this feature in LR3?
I understand that could be nicely done in Photoshop, but I'm sure the feature would be useful.
Thanks.

You forgot one more thing to draw.
The color channels should be visible on the compisite RGB curve. Otherwise, you have no idea that you might have some manipulations in them.
Oh, and by the way, it'a nice way to add Levels too, without adding much UI overhead. The sliders are handy for adjusting teh white and black points (dragging the points themselves on the curve is a bit challenging).

R.G.B Curves in LR3

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