Saturation and contrast differences

I need to understand this...someone help please! How come I have to stretch my adjustments to ridiculous amounts (I do mean to the max) in Aperture in order for them to show up (sometimes barely show up at all!!) in the browsers? I can't even judge their appearance properly while looking at the photographs in Aperture. I am exporting "versions" and have selected the version itself to be exported. It seems almost not worth the while to do any adjustments in Aperture and to simply throw all pics in PS.
Is this normal?
MBP Mac OS X (10.4.8)

hello, marie in china
quote: "I can see the changes/adjustments perfectly in Aperture and usually tweak the images to my taste rather quickly, but the adjustments seem to go out the window when the version is exported and put into a browser."
so, if I understand you correctly, the photos you are seeing in a browser like Safari or Omniweb or Firefox etc look different than what you see in Aperture?
this is ok. to fix this set your export Image Quality higher and to the correct ColorSync Profile. do a few exports to your desktop until the photograph is the way you want it and then upload the jpeg to the site.
File>Export>Export version or shift apple e
Export preset: select JPEG and Edit...select appropriate settings
OR,
do you mean that the Aperture browser photographs look different than what you see in the Viewer?
victor

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Having used Lightroom since the beginning, I'm at my wits end.
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I thought for a long time it was my side, originally using a consumer DSLR (D50), but it affects every NEF I've ever imported, from any Nikon body up to D4.
The saturation gets chunky with little effort (even after attempting to correct via the Calibration panel), the same when pushing contrast. Not pushing it beyond the files' limits, just a simple s-curve.
When importing other RAW formats, this is less often the case.
It's really frustrating to be able to rely on Lightroom doing and adequate job 75% of the time, and it makes me look bad in front of clients.
Has/ does anyone else run into this? Does anyone have any ideas, or tips as to avoiding this?
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I'm an unabashed Adobe fanboy with fond memories of the introduction of Levels (Oooooo) back in the day, but I'm feeling I've been pushed to a point where I have to default to whatever program does a better job handeling RAW info, and ACR is not cutting it at a professional level.

Well, I don't know how to explain it any better, I feel I put it pretty straight forward, however here's an example from a small lookbook. The red is not accurate, everything else is.
The only thing I've ever come up with is possibly some 'Out of Gamut Warning' option that I haven't found to disable, twenty_one. However, no, I do know Lightroom VERY well, just not 100%, maybe 95%. When Soft proofing for monitor, all colors in the example are within gamut in sRGB, AdobeRGB, and my calibrated monitor color space.
I've almost exclusively run into this with NEFs, I've used Lightroom with Canon, PhaseOne backs, Leaf backs, Fujis, and more. Oh, and I am a pro, and have worked a wide range of clients from Harper's, Elle, and BEBE, to RED, Playboy and more -not to toot my horn, but to establish I'm not a green.
I'm on Lightroom 5, current build.
Typically I stay with the Adobe Standard Profile or Portrait, but none seem to help this particular issue.
Not sure what sort of NEFs Nikon produced in '76, but I to have been with Adobe since Photoshop 2. I'm viewing on a calibrated monitor in good viewing conditions. I don't print, this is most commonly an issue with lookbooks and catalogs when they need perfect color, the issue remains when viewed on other monitors. I've also tested images on my studio's Eizo CG276 and run into nealry exactly the same results (nearly in that there are pixels of difference, however it's a different size than my normal editing monitor).

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Can anyone tell me exactly where the initial preview was generated adn how to keep it?
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MSN: [email protected]

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Hi,
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