Raw color conversion

when i view images in my desk top browser (even in Raw) they look just as they did when i took the picture. when i open them in raw PS CS2, the colors have shifted and i can not seem to get back to the proper color balance.
can you help? opening the images in bridge introduces yet another color shift.

I am guessing your desktop browser is not color managed which is why they don't look anything like they do in PS, CR, Bridge, or LR.

Similar Messages

DNG & Camera Manf. JPG color conversions

IF, a Camera Manf. had a camera that outputs to DNG ... could they imbed in the DNG file ... the "equivelent" of LR "pre-sets" for "there" JPG Color conversion.
* So, In LR at a click of a Pre-set listing you could see what the Camera Manf. JPG out of the camera would be like. (if you "would have" shot this DNG in JPG) ... and then you could do a compair.
Or maybe you would "just" run it as a choice on import ... as a starting point, or when in a rush a result.
* Just curious ... could this be done?
Is it only me, or could this be a useful productivity feature for LR.
p.s. I do get the fact that you could make your own pre-sets for your camera.

> "being a designer/distributor myself you are always trying to find ways to make your product (output) different and exclusive ... so yes, having a Generic DNG and making "my" product/output a commodity would not be my first choice either".
I used to help design large, complicated, multi-supplier computer systems. I sometimes got involved with helping to procure products.
The suppliers would try to make us enthusiastic about their special features. If we procured their products, we would often simply lose those features under an abstraction layer of software - they were unwanted! We needed interchangeable components. Call it "commodity" if you like - but I don't really agree with that term here. "Commodity" to me implies that it doesn't matter which you choose. "Interchangeable" still leaves other factors to be taken into account.
If Nikon adopted DNG (chuckle!) we wouldn't really claim that a D40 and D80 and D200 and D2Xs were "commodity"! They would still be high quality high value differentiated products.
In fact, camera manufacturers are pretty foolish if they adopt such an attitude. Within weeks of camera launch, all the major raw converter suppliers have reverse-engineered the raw files and camera details enough to be able to perform high quality raw conversions. All essential aspects of the specification are known, and sometimes even published by 3rd parties!
Who do the camera manufacturers think they are hiding information from? Answer: "from 3rd party software companies whose mission is, in effect, to make the images from the camera look as good as possible"! How stupid can camera manufacturers be?
DNG still has ways for camera manufacturers to hold what Adobe call "secret sauce". There may well be limitations in the current specification of DNG that causes problems for some manufacturers - Hasselblad-Imacon apparently had problems. But most manufacturers almost certainly have no such problems - and Pentax shows what CAN be done by a camera manufacturer, (the one who once tried to promote the idea of a universal lens mount), that cares about its users and sees the way the world is moving.

Aperture Olympus E-PL2 Raw Color Distortion and other issues

Hello there, Olympus Micro Four Thirds Fans!
So finally, Apple introduced Olympus E-PL2 Raw Support in Aperture 3. After some testing and troubleshooting there are still some issues remaining that sort of still leave the Raw option unusable for me:
The Apple Raw developer does not seam to read Olympus gradation curve settings properly. I usually leave the cameras color mode to "natural" which in JPEG gives the Olympus-typical beautiful documentary-style color accuracy. However, in Raw, colors get distorted in the most unpleasant way! Especially the greens get horribly oversaturated.
Noise reduction settings also are not correctly translated. I'm the type of Raw user who always wants to start from the camera settings chosen and who then wants to be able to tweak settings to perfection just a little bit. But all in all I chose an Olympus camera, because it does deliver superb white balance metering, decent noise reduction and beautiful color gradation right out-of-the-box.
SPEED! Aperture seems to be horribly horribly slow with Olympus .orf files. Lightroom is easily ten times faster in real-time developing of Raw files.
Did someone observe the same behaviour? How do you work around these issues, what is the best setup for the apple raw developer?
Greetings from Esslingen am Neckar!

Hi there!
I am now developing my raw files with Olympus Viewer. It is the only software solution that would deliver results close or identical to Olymus built in JPEG engine. Most of the time I need to get color reproduction that is as subtle and fine as the Olympus engine, but I do want to benefit from all the other postprocessing advantages that RAW has to offer.
Within Aperture I have not been able to get comparable color rendering.

[AS][IDCS3] PDF Export Preferences Color Conversion setting

I want to set the field of Color Conversion (as equivalent to manual setting under Output>Color>Color Conversion) to "No Color Conversion" in Applescript but couldn't figure it out.
My skeleton Applescript is as follow:-
tell application "Adobe InDesign CS3"
   tell PDF export preferences
       -- I want to set No Color Conversion for Color Conversion here
   end tell
   tell document 1
       export format PDF type to filename without showing options
   end tell
end tell
I have search through Applescript ID CS3 dictionary but couldn't find the answer. Hope someone can advise. Thanks!

Use:
set effective PDF destination profile to use no profile
Shane Stanley <[email protected]>
AppleScript Pro Sessions <http://scriptingmatters.com/aspro>

[AS][INDCC] How to set Color Conversion field to No Color Conversion when creating PDF Export preset

How can i set Color Conversion field in Export to PDF dialog to No Color Conversion when creating PDF Export preset? i have done a bit of searching and have found where it has been recommended to set effective pdf destination profile to use no profile but it doesn't seem to be producting the expected results.

Yes, it seems that i had to make the change after creation, not while creating the preset. thank you.
tell application "Adobe InDesign CC"
     set newPreset to make new PDF export preset with properties ¬
          {name:"preset name", standards compliance:none, acrobat compatibility:acrobat 7}
     tell newPreset to set PDF color space to unchanged color space
end tell

Raw File Conversion

What is better for Raw File conversion, Aperture or Adobe Camera Raw in PS CS2? I'd heard there was more noise in the Aperture conversions. Do people manage their photos in Aperture and export the raw file to PS for conversion if PS is better?

i agree with Paul. it depends on your Camera.
I am a photgrapher and use for most of my work now the Nikon D200. Sometimes Canon EOS-1 Ds mark II. I use Aperture 1.5 and Adobe CS2.
Now i have tested Adobe Lightroom beta4.And I have to say that for the workflow i prefer it over Aperure.
I have made the experiance that a picture with a lot of highlights looked unseable in Aperture , but was good once opend in Photoshop RAW converter. One step further: a picture shot outside, almost in the dark with only some light left from the lamps in the street, looked very bad in Aperture and Lightroom, once opend with Nikon Capture Editor it turned to be a great Picture in full scale size at 300dpi. I guess this is possible because they know exactly how the RAW is processed in the camera and their software is only dedicatet to Nikon. I think it should be the same for all other cameras.The only trouble is that Nikon Capture is very slow. But good work needs time:-)
So my conclusion is to use Aperture or Lightroom to organise and preselect the shoots, as well to make a webgallery for selection to the client.the selectet RAW picture i will then open in Nikon Capture and set the corrections. Then I open it in Photoshop to refine it and retouch. finaly save it as PSD or any other format desired.
There is one programm that I guess does the same high quality work on RAW files for all cameras and that ist Capture One Pro because of its dedicatet RAW conversion to each Camera type. I just dont lik the interface and its another 500 $ or so.
i hope this was ahelp to you.
regards
larry

CMYK to RGB color conversion?

Hi,
I have to convert CMYK color array in the RGB color space and vice versa.
I am using the following code;-
UID colorUID = iDrawing->GetColorUID(kFalse);
UIDRef colourUIDRef(iDrawing->GetDataBase(), colorUID);
InterfacePtr<IColorData> colorData(colourUIDRef, UseDefaultIID());
char
strColor[16]={0};
if(colorData->GetColorSpace() == kPMCsCalRGB)
    ColorArray rgbColor = Utils<IUIColorUtils>()->GetRGBColorValue(m_DB, colorUID);
    sprintf(strColor,
"#%.2x%.2x%.2x", ToInt32(rgbColor[0] * 255), ToInt32(rgbColor[1] * 255), ToInt32(rgbColor[2] * 255));
else
    ErrorCode errStatus = GetRGBColorStr(colourUIDRef, strColor);
ErrorCode GetRGBColorStr(UIDRef colourUIDRef,
char* strColor){
    ErrorCode status = kFailure;
    do
          I
nterfacePtr<IColorData> colorData(colourUIDRef, UseDefaultIID());          IDataBase* m_DB = colourUIDRef.GetDataBase();
// If color sapce is other then RGB then get the colour array
    ColorArray colourArray = colorData->GetColorData();
    // If the colour space is CMYK then convert it to RGB
    if(colorData->GetColorSpace() == ICMSProfile::kSourceTypeBuiltInCMYK)    {
          IDocument* document = Utils<ILayoutUIUtils>()->GetFrontDocument();
          ColorArray rgbColor = Utils<IColorSystemUtils>()->ColorTransform( document, colourArray, ICMSProfile::kSourceTypeBuiltInCMYK,ICMSProfile::kSourceTypeBuiltInRGB);
     sprintf(strColor,
"#%.2x%.2x%.2x", ToInt32(Round(rgbColor[0] * 255)), ToInt32(Round (rgbColor[1] * 255)), ToInt32(Round(rgbColor[2] * 255)));     status = kSuccess;
}while(kFalse);
return status;
}while(kFalse);
return status;

I did some experiments with Illustrator CS6 and the MacBeth RGB test chart and verified my results with Photoshop CS6. I discovered Illustrator is (mostly) doing what it should be doing, within a 1% error (probably rounding) on the output CMYK values. Here's a summary, in case anyone else needs this info:
Assuming the source file's elements are all untagged, when a mixed RGB/CMYK PDF is opened in Illustrator and CMYK mode is
chosen, Illustrator will use the profiles and rendering intent defined in
Color Settings to make the color conversions from RGB to CMYK. Thus, we
have control over the profiles used for this conversion.
If the RGB elements in the PDF file have embedded ICC profiles,
Illustrator will use the embedded ICC profile instead of the RGB profile
defined in Color Settings. This ONLY happens, however, if the PDF file
also includes the correct CMYK output intent profile.
If the PDF doesn't contain a CMYK output intent, Illustrator will fall
back on the Color Settings RGB profile for RGB->CMYK conversion. I believe it
would be more correct for Illustrator to use the embedded RGB profile and
the CMYK profile defined in Color Settings, but that's not how it seems to work.
If the PDF contains the incorrect CMYK output intent, Illustrator will
ignore the Color Settings and respect the embedded RGB and CMYK profiles
for the conversion, as might be expected.

Poor Panasonic Lumix LX3 RAW color in LR2.5

Hello,
I just bought a Panasonic Lumix LX3. I'm using Lightroom v2.5 to process the RAWs under Mac OS 10.6.2. The color in the LX3 jpegs is very good/accurate, but when I open most RAWs it is taking me a lot of work to get accurate color, especially if there is any blue sky in them, as Lightroom seems to be rendering some colors incorrectly. It's taking me way too much work to get my RAWs to look as good as the jpegs, which pretty much negates the RAW files' greater potential! I have used Lightroom with my Canon 20D and never had this problem. Also, with the LX3's supplied RAW software, SilkyPix, I don't have the RAW color issues. I want to use Lightroom with my LX3's RAWs, but it is very frustrating. Any thoughts or comments would be most helpful.
Thanks,
Greg

I have also had the same color rendering problems with LX3 and LR 2.4-2.6. The JPEG and initial preview looks fine, but the LR raw rendering just doesn't look good.
One solution I tried was to buy a Gretag Macbeth color checker (24 patch) and create a DNG profile for the LX3 using DNG Profile Editor from Adobe. This makes the color rednition significantly better, but the warm color spectrum is still a problem when it comes to high saturated areas.
I still haven't found what I'm looking for...
Any suggestions?
Thanks,
David

Printing RGB colors - Conversion to CMYK?

Hi,
I have been working for a little while in converting my old RGB colors to CMYK printer friendly colors.
However, I carefully choosed my printing friendly CMYK colors to be as close as possible to the RGB colors but the prints are dull !
On the other hand, when I print my file withj RGB colors using the PDF Distiller tagged with Adobe1998 profile and send the file to the printer, colors look smarter !
It means that the CMYK colors I picked myself are not good enough anf the Color Managment in Adobe PDF or Illustrator are better than me ! As follows:
- In Illustrator -> Print -> Color Management tab -> Color Handling: Let Illustrator determine colors
- in Acrobat Reader -> Print -> Color Management tab of the plotter: Application managed colors
Both ouput similar quality prints, and better than my own CMYK colors !
Are the Application Color Management engines in Illustrator and in Adobe Reader similar in their conversion?
How can I find out which are the CMYK colors printed when the application (Reader or Illustrator) manages colors, from my initial RGB colors? I would like to use them directly in my document...
Thanks

Hi,
Thanks for your response. I put these color issues on hold because I had no time to search more on that recently...
However, I have still lots of questions about color conversion!
When I said "carefully choose" CMYK colors, it means CMYK colors printable and which look similar to my old RGB colors on-screen. But of course, screen is not enough!
What I noticed is that when I print my old RGB colors (not in printer color space), Adobe Reader or Illustrator were able to make good conversion to CMYK for printing.
Now, I would like to find out to which CMYK color codes Adobe Reader or Illustrator converted my RGB colors? Then, I would be able to use these CMYK color codes directly in my application...
Is there any way to find out that?
Cheers

Color conversion : special behavior with Spot Color "All"

Hello,
I have a document with printmarks which have a spot color "All". While I convert the page using the "Color conversion" to Gray 1.8 with Adobe Acrobat X the spot color "All" are still present (with the alternate color space DeviceGray).
Using Adobe Acrobat 9.x all objects have a DeviceGray color.
Is it a bug or a new behavior? Moreover the SDK method doesn't convert the spot color but keep the name (but I know this is not the right place to post it - it's just for information).
Regards,
Joe

I sense you may not understand the difference between sopt and process colors in the printing process.
When you use process inks you build all color representations by combining dots of varying sizes from each of the four process colors, cyan, magenta, yellow, and black. Because the dots are two small to be seen individually your brain is fooled into thinking it sees other colors. Process color printing requires four printing plates to produce the full range of colors possible, but that range is limited compared to what you can see in real life or capture in RGB.
Spot colors, in contrast, are similar to paint. Each color is mixed individually, and every spot color requires its own plate on the printing press (and you must use a press -- toner and inkjet printers use cmyk inksets and cannot print real spot colors). Because of the expense of these plates, the use of spot colors is usually limited to one or two colors in any print job, and if the job has other color (like photographs) that requires process inks, converting the spot colors to the closest process simulation is often employed if the spot colors can be simulated "close enough" to satisfy the client and the budget is tight.
I would avoid using process colors for type in small sizes or for very thin strokes, especially in lighter colors, as you are likely to see ragged edges.
So, how many spot color swatches did you use? More than two? More than four? Do you have a huge budget to produce the work? This may be a project that really should be designed from the ground up as process, or process and one spot for that hard to print bright accent color.

Disable color conversion when PDF export

how to disable color conversion in my sample scritp?
pdfExportPreset = app.pdfExportPresets.add({
name:"sample preset",
pdfExportPreset.standardsCompliance = PDFXStandards.PDFX1A2001_STANDARD;

actualy, if you need PDF-X1A standard, it's not as much about the export preset as is about the workflow. PDF/X-1a requires all fonts need to be embedded and all images need to be CMYK or spot colors. So if you have RGB images, they will be converted to obey the standard.

Crash while launching in "building color conversion tables"

Photoshop CS6 crashes while "building color conversion tables" I reinstalled the program but it still hangs up at this point. please help!

I've only seen 3 things that can cause a crash at that point: corrupt profiles (mostly display profiles), corrupt information coming from the OS about the system profiles, and bad floating point units in CPUs.
First thing to check is the display profiles. If setting them to sRGB doesn't solve the crash, it might be a bug in the OS profile cache. And let's hope it isn't the CPU, because those problems are a @$%^@#%# to track down in modern processors.

Pantone Color Conversion

Have 2 Intel Mac Pros running 10.5.5, InDesign 5.0.4. When opening the same document on each machine I get 2 different CMYK color conversion of a Pantone color. Both machines have the same color settings as far as I can tell. Anyone have a idea why this happens, or how to make them the same.
Thanks

Choose the Ink Manager from the Swatches panel menu (or from Print dialog or Export PDF dialog). Look at the "Use Standard Lab Values for Spots" option at the bottom. Depending on whether on or off it will use Lab values (like Photoshop) or CMYK values (like ID and AI have traditionally used).

Choosing profiles for forced RGB to CMYK color conversion

When a mixed RGB/CMYK PDF is opened in Illustrator CS6, Illustrator forces a conversion to one color space or the other. See this screenshot: http://imgur.com/sK8iEdn
I assume this is a limitation of Illustrator and there's no way to keep both color spaces. Under that assumption, Is it possible to choose the profiles used for the conversion from RGB to CMYK? Can Illustrator be made to use the RGB and CMYK profiles defined in its Color Settings to make this conversion?

I did some experiments with Illustrator CS6 and the MacBeth RGB test chart and verified my results with Photoshop CS6. I discovered Illustrator is (mostly) doing what it should be doing, within a 1% error (probably rounding) on the output CMYK values. Here's a summary, in case anyone else needs this info:
Assuming the source file's elements are all untagged, when a mixed RGB/CMYK PDF is opened in Illustrator and CMYK mode is
chosen, Illustrator will use the profiles and rendering intent defined in
Color Settings to make the color conversions from RGB to CMYK. Thus, we
have control over the profiles used for this conversion.
If the RGB elements in the PDF file have embedded ICC profiles,
Illustrator will use the embedded ICC profile instead of the RGB profile
defined in Color Settings. This ONLY happens, however, if the PDF file
also includes the correct CMYK output intent profile.
If the PDF doesn't contain a CMYK output intent, Illustrator will fall
back on the Color Settings RGB profile for RGB->CMYK conversion. I believe it
would be more correct for Illustrator to use the embedded RGB profile and
the CMYK profile defined in Color Settings, but that's not how it seems to work.
If the PDF contains the incorrect CMYK output intent, Illustrator will
ignore the Color Settings and respect the embedded RGB and CMYK profiles
for the conversion, as might be expected.

RIP with same color conversion as Adobe

Hi
for the color conversion of our images and pdfs we use Photoshop and Idesign (What I´m talking about here is to put an input profile, a rendering intent, and a output profile).
99,99% of the time we use relative colorimetric with black point compensation to do the conversion. So we use those 2 applications as if they were rips.
I must say that we are very happy with the results.
What we are looking for right now is trying to automate that process.
We have been using a rip called Colorgate Productionserver 7. This rip have hot folder workflow (wich is what we want) BUT the color conversion is not the same as the one that Photoshop and Indesign have (using the same input profile, rendering intents and output profile).
We have been doing much testing with rgb images and we don´t like how this rip converts the images to the output profile.
It leaves the pure blacks a little bit more washed out than what the Adobe conversion would do and also if you send the image as a tiff file the rip respects the rendering intent of that queue and converts the image accordingly but when you send that SAME image inside a pdf (whether is cmyk or rgb) the rip WILL ALWAYS use the relative colorimetric conversion (without black point compensation) to do the color conversion regardless of the rendering intent that you have in that queue. Indesign honors embedded profiles, rendering intents and output profiles perfectly.
So what we are looking for is a hot folder-queue based rip that have a color conversion really similar (or the same if possible) as the one of Photoshop or Indesign and have the black point composition option in the rendering intent menu.
I don´t know if Adobe has a similar product or if it has licensed it´s color management to anyone.
Thank you
Palodislow

Hello Palo,
Colorgate has announced, that Productionserver 8 'utilizes the latest Adobe PDF Print
Engine (APPE) by default':
http://www.colorgate.com/en/rip-software/rip-software/productionserver-8.html?aktPos=20
May be you'll get then the desired 100% compatibility...
I am using version 6. I could stabilize my processes by simplifying the workflows for PDFs.:
Just one color space for RGB images, just one color space for CMYK components,
explicit assignment of the two profiles, explicit assignment of the two rendering intents.
No use of embedded profiles and hopefully no use of InDesign's general color settings,
which may be in contradiction to the settings in Productionserver. My InDesign PDFs
are generally made for Leave Colors Unchanged.
I had discussed some issues with Colorgate: printing of Lab components and printing
of images by K-only (black and gray inks). The company is cooperative, but it's obviously
impossible to clarify the extremely complex workflows just by post and e-mail.
My experiences, which are as well based on two other RIPs (years ago), are laid down
here, a preliminary version finished just now:
http://docs-hoffmann.de/cmsflow03072013.pdf
Please contact me eventually by private e-mail (last page of doc).
Best regards --Gernot Hoffmann

Raw color conversion

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