Skin tone

I wonder if there's a way to add a 'skin tone' adjustment setting for the Adjustment Brush. ? Yes, skin tone varies, but at times, working under mixed lighting, it can be difficult to get something that isn't peachy or orangey.
Separate from that: As a test, I processed some images (from scratch) in LR4 that I'd completed in LR3 for a gig. The new sliders are cool, but I can see I need to learn how to better use them. I already see an improvement with Clarity - it seems sharper.
Curious - what changes were made to the dng files?
Will do more testing, and with the other modules as well.
Thanks.
Barbara

@Rob:
"When you import a bitmap image into Flash, it comes in as one mass of pixels."
Strictly speaking, any bitmap image is a "mass" of pixels to begin with - hence the name map of bits - 2D array of pixels.
@Saran:
Search for "AS3 face recognition" - there are several developers that attacked this task.
Where Rob is right - it is not an easy objective - you will need to learn in details BitmapData manipulations, filters and, perhaps, shaders (pixel bender). Shaders are the most solid approach. Photoshop, AfterEffect and other Adobe software uses shaders for image editing.

Similar Messages

Request better support skin tone evaluation/measurement

Hello. I am writing this with the intention that it will be read by the folks at Adobe that are involved in the development of Lightroom. I'm pretty new to this forum, however, and I'm a little confused about whether this feature requests thread actually goes to the Adobe Lightroom team, considering that it is in a user-to-user forum. If there is a better avenue to get my feature request to Adobe, I would appreciate if someone could point me in the right direction.
Before I get into my request, I also want to mention that I did my due diligence and searched this thread to make sure this has not been requested before.
I am submitting this request because I do not see any useful way to measure or evaluate skin tone in Lightroom while adjusting white balance (or after adjusting white balance, for that matter). I can do a mouse-over to read RGB values, but I am not aware of any useful way to use RGB values for evaluating skin tones.
I just watched the latest George Jardine video, in which he recommends to use a calibrated monitor and move the Develop controls back and forth until your eye tells you it's correctly adjusted. I enjoyed this video, and I have found that this generally works well for me for tone balance, but I believe an additional tool for measuring or evaluating skin tones would benefit the Lightroom workflow as I will explain below.
I believe that many serious photographers, pro and amateur alike, routinely use the eyedropper in Photoshop for reading CMYK values to confirm the skin tones in their work. Even if they feel like they can usually eyeball pretty well, they find they get greater consistency when they use the eyedropper.
Now I'm not saying that Lightroom necessarily needs CMYK support. Photoshop Elements, for example has a skin tone adjustment even though it doesn't have CMYK support. And I'm also not suggesting that Lightroom necessarily needs skin tone sliders like Photoshop Elements. I'm just suggesting that the Lightroom workflow would benefit from some kind of tool for evaluating skin tone while or after adjustments are being made in the Develop Module. I would like to leave it up to Lightroom to decide exactly how to implement this.
The only way I currently see to do adjust while measuring skin tones is to open the file in Photoshop, make adjustments, and save. Even if there is a way to do this with ACR and have the adjustments saved in the sidecar or in the DNG, it still seems like a time-comsuming and unnecessary step for my workflow.
Now this request is predicated on the assumption that evaluting skin tone is fundamental enough for a basic workflow that it should be included in Lightroom. In my opinion it is, and that is why I am making this feature request. I'm sure that some might not need it for their workflow, but it seems to me that this would be a valuable feature to a great many Lightroom users.
Thanks for lending your ear, Adobe. I look forward to ALL your future versions of Lightroom, and I hope that skin tone evaluation/measurement is included in one of them.
Regards,
Mike

Your post seems to assume that Lightroom is a tool for travel/landscape photography, and other types of photography (e.g., portrait/fashion) should be supported by a "specialized add-on module". I have to disagree with you on that point. Considering many of the examples on the Lightroom marketing are fashion shoots, I would think that they considers portrait/fashion photographers to be an important part of their target audience. They are not a fringe group of specialists.
I'm sure that portrait/fashion photographers would feel the same way about a Lightroom capability that primarily benefits the workflow of a travel/landscape photographer, i.e., when I do do some landscape work, I just edit in Photoshop. But you wouldn't agree to that, would you?
Skin tone measurement can be an incredibly easy tool to implement. It can be something as simple as showing the CMY values alongside the RGB values during a mouseover. Keep in mind, I'm talking about CMY not CMYK, so there should be no need to worry about what ICC profile to use. RGB to CMY is a straightforward transformation. It's embarassingly simple.
There are other ways Adobe can implement skin tone management that would be more powerful but a little more complicated. Those would be great too.
Anyway, thanks for the link to the Adobe feature request page! I will use it.
Regards,
Mike

Skin Tones Look Wrong When Printing From iPhoto

Hi
I'm having trouble getting the caucasian skin tones to look right on photos printed with my Epson Stylus C86 printer on Epson Premium Semigloss paper. They look too pinky/purple when compared with the screen of the Sony DSC camera I shot them with and also my iMac's monitor. They just look wrong as though the subjects have a combination of bad sunburn, high blood pressure and are blushing at the same time!
I've tried the following tips synthesised from other threads:
1. Downloaded the latest set of drivers from Epson's website.
2. Ensured that they are associated with the printer in ColorSync utility.
3. Selected the Use ColorSync option when printing from iPhoto's print dialogue box.
These made no difference to the default behaviour i.e. same color problems.
Could anyone guide me to a solution? I would rather not have to use another application to print them if possible. I'm not used to my Mac not "just working".
Thanks

What color profile do the pics have? Is the printer set to the same profile?
Regards
TD

Changing skin tones with adjustment layer fails

Hi,
I am running PS CC 2014 and all I want to do is to adjust a skin tone to match it to the rest of the bodys skin color.
I have watched some videos on YouTube but my PS doesnt seem to work that way and I wonder why.
My workflow:
Copy background layer.
Quick select area of body where skin tone has to be changed
(If necessary: improve selection)
Now create adjustment layer with gradiation curve
Select with double click midtone pipette and select one point of the "good skin tone" (also pressing CTRL at the same time when selecting it)
Confirm with OK.
Reject box which wants to take over skin tone as standard color.
Click with pipette in the previously selected skin area which has to be changed.
Instead of adjusting the color into a good skin color, this area turns into a strange orange color.
All I can do now is to walk through the single RGB channels to makle adjustments and hope to get anywhere
near the expected result.
Where have I gone wrong ? Where does the orange color come from ?
Any proposals how to get to a reasonable result ?
Preferably with this workflow. But all other ideas are welcome, too.
Thx.
Arnold.

For what it's worth: I have found that when sculptural modeling is involved, such as the in the hand, working with Curves in LAB (where tone is discrete from color) produces the color change more naturally and provides greater control over local contrast. You may want to consider that alternate approach. In this sample, the left forearm provided the reference color and I chose to lighten the tonal scale a bit.
One off-topic comment: A shorter than normal focal length lens creates a foreshortening that makes near objects disproportionately large in relation to the rest of the object or scene. In this instance, consider its effect on the hand-head sizes. I would suggest that a focal length at least 1 1/2 times normal would be more appropriate.
Good luck.

Skin tones turn putty after opening in ACDSee & Picasa

After I export my pictures from Lightroom and save to a folder, I have noticed that skin tones that look wonderful in Lightroom look dreadful in ACDSee and Picasa. They are a dull putty. Actually some landscapes are much darker there too than they are in Lightroom.
Any idea what is causing this? I hate to send them out to WHCC for printing because I don't know which picture will come back--the lovely one that Lightroom shows or the dreadful one I see in ACDSee. For what it's worth, before I got Lightroom, I never had this problem with ACDSee before (although I did just upgrade to ACDSee 10). Thanks for any help.
Elise

Jeff, I believe you are narrowing the problem down. I was sure I was saving from Lightroom in sRGB, but I went and checked for sure. I was indeed, but your post got me thinking. All of the images that have done this have been first brought into LR and then moved over into PSE4 for additional work. I went and checked the color profile for PSE4 and sure enough, it's Pro Photo RGB. It appears that is the ONLY option one has in saving from PSE.
However, the question now is why is this suddenly happening? I've been using PSE4 for years, and ACDSeehas always been exactly the same in viewing as PSE. The only thing I can think of is that I upgraded to ACDSee 10--but why the upgrade should cause problems when the older version didn't is confusing to say the least. I think a call to ACDSee is in order.
Thank you for helping me narrow this down.

Color correction on magenta skin tones / white shirt

I want to color correct a shot that is very blue/ magenta.
I would like the skin tones to be less magenta and more orange/yellow.
I get the best results by adding yellow on the Midtones and Shadows.
My problem is that the Highlights are going yellow, specially a white shirt. I get a better result by by then adding blue on the Highlights. I'm wondering if it's the right thing to do... Also, some Midtones are still too magenta.
I could isolate the skin tones as secondaries, but still, I have to color correct other parts of the image.
Any tip? Should I use the advanced settings?
I know my question as no miracle answer and that color correction should be done by a pro, but I would appreciate any suggestion, thanks.

cariocastyle wrote:
I want to color correct a shot that is very blue/ magenta.
I would like the skin tones to be less magenta and more orange/yellow.
I get the best results by adding yellow on the Midtones and Shadows.
I'm wondering if it's the right thing to do...
I don't know, what does your eye tell you?
Before anyone can suggest any sort of solution, you need to provide a still as Mr. Owens asked for and then provide some direction for what you want.
No 2 people on the face of the earth see exactly the same. Color is entirely subjective. If you like what you're doing (I would ask, how you're seeing anything accurately from an iMac) then who cares what anyone else thinks? Unless, someone is paying you for your talent, then you'd best have the best rig money can buy as anything less is a lie.

What color value is skin tone?

If I want to push skin tone in the Colour Board (Apple's rectangular version of the "colour wheel") in a colour adjustment, should I be pushing at 30 degrees?
The FCPX user manual says in "Vectorscope display options",
"Show/Hide Skin Tone Indicator: Shows or hides the diagonal line that represents the human skin tone chroma phase, which is between the yellow and red color bar targets."
It doesn't say if the skin tone indicator is exactly between yellow and red, i.e. pure orange, which would be 30 degrees, or just somewhere between red and yellow.
I found this in a Larry Jordan article,
"Regardless which race or ethnic group our actors are a part of, all of us have the same red blood under our skins. This line (skin tone indicator) represents the color of red blood under skin. In general, when you want to make skin tones look normal and believable, you want them within a couple of degrees of this line. Above the line leans ruddy, below the line leans sallow."
So, is the red blood under our skin pure orange, i.e. 30 degrees in the Colour Board, i.e. exactly mid way between red (zero degrees) and yellow (60 degrees), or is it some other value?

Many thanks for all your help. I suppose I am trying to arrive at really nice cinematic looking skin tones, but with my Canon 550d and very limited knowledge of setting up shots and film making, pushing skin tone and playing with the colour board alone will not get me those appealing skin tones. Attached are some interesting ones, but how to achieve them? I need to keep learning, and perhaps have a good lot of cash for gear ..

Having trouble getting skin tones to print "accurately"

Hello! This is my first post to a forum, but I am unhappy with the skintones of my portrait shots in the printed results and am driven to seek your collective help. I realize that an image on the monitor will never match exactly to the printed image because the media is entirely different. I am pleased with the image results for everything except the human skintones. Portrait shots can look great on the monitor, but the printed image always has a greenish cast. This happens when shooting outdoors in sunlight and on overcast days. No flash was used.
I am shooting RAW (uncompressed NEF), using Nikkor lenses on a D200. My printer is an EPSON Stylus Photo 2200. Mac Pro 2x2.66 GHz Dual-Core Intel Xeon processor. RadeonX1900 graphics card. Apple Cinema 24" Display calibrated with SpyderPRO. Epson Premium Glossy Photo paper. Aperture 1.5.3. Lately I have been using a 105mm, 2.8, VR Nikkor lens or the 17-55mm, 2.8 Nikkor lens. (I think I have all the right equipment, now if I could only fix the user!)
I notice that Aperture has default setting applied to my images in RAW Fine Tuning and the Boost is always set to 1.00. Chroma Blur Radius=2.00 and Auto Noise Redution is checked. Sharpening Intensity=0.5 and Edges-0.73.
My in camera white balance is set to full sun. Aperture white balance temparature comes in at 4860K.
What is the Boost and if I change it to 0.00, the skin tones are not as saturated and reddish in the display, but the printed image has a greenish cast. Should I be changing this value at all?
I see that other folks post fabulous portrait images on the web with lovely creamy skin tones, but I can never achieve that effect. What am I doing wrong?
Thanks in advance for any help you folks can send my way.

The Boost slider under the Raw Fine Tuning change the contrast of the image. I set it up to be 0.80 as default, sometimes I lower it even more. Then I use the controls under the exposure section to adjust the exposure and contrast. I finish it with the levels adjustments.
It's very easy to get reddish faces when the contrast is to high. If that's the case in the color adjustments I lower the saturation of the reds a little bit and move the slider of the hue a little bit to the right, usually a value of 2.0 is enough to make them more orangy.
It's crucial that you set up the white balance properly. A grey card is a great help to have a neutral tone in the image, then I usually go a bit warmer, around 200-300K more than neutral.

CS6 Beta questions: skin tones, camera calibration in Camera RAW

While this is supposed to be a fully functional version, I am missing the Patch and Move content aware tools, the Skin Tones function does not work, there is no camera calibration except for Adobe Standard available under Camera RAW 7.0 and none of the links uder "Help" work. When I try to look for updates I am assured that I have the latest version. Does this sound right to you? Am I just not looking in the right places for these features or are they indeed not available in Beta, in which case it is of course impossible to try them out.

Thanks very much, Pattie. I was not holding down the Healing brush. That all works fine now. However, what about camera profiles for camera calibration in Camera Raw 7.0 and why don't the skin tones work? I am using a reasonably new HP laptop with plenty of horsepower and Windows 7. Here is my system info. Can you help further?
Adobe Photoshop Version: 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00) x64
Operating System: Windows 7 64-bit
Version: 6.1 Service Pack 1
System architecture: Intel CPU Family:6, Model:10, Stepping:7 with MMX, SSE Integer, SSE FP, SSE2, SSE3, SSE4.1, SSE4.2, HyperThreading
Physical processor count: 4
Logical processor count: 8
Processor speed: 1995 MHz
Built-in memory: 4044 MB
Free memory: 853 MB
Memory available to Photoshop: 3447 MB
Memory used by Photoshop: 60 %
Image tile size: 128K
Image cache levels: 4
OpenGL Drawing: Enabled.
OpenGL Drawing Mode: Advanced
OpenGL Allow Normal Mode: True.
OpenGL Allow Advanced Mode: True.
OpenGL Allow Old GPUs: Not Detected.
Video Card Vendor: ATI Technologies Inc.
Video Card Renderer: Radeon (TM) HD 6770M
Display: 1
Display Bounds:= top: 0, left: 0, bottom: 1024, right: 1280
Video Card Number: 2
Video Card: Radeon (TM) HD 6770M
OpenCL Unavailable
Driver Version: 8.830.6.2000
Driver Date: 20110412000000.000000-000
Video Card Driver: aticfx64.dll,aticfx64.dll,aticfx64.dll,aticfx32,aticfx32,aticfx32,atiumd64.dll,atidxx64.d ll,atidxx64.dll,atiumdag,atidxx32,atidxx32,atiumdva,atiumd6a.cap,atitmm64.dll
Video Mode:
Video Card Caption: Radeon (TM) HD 6770M
Video Card Memory: 1024 MB
Video Rect Texture Size: 16384
Video Card Number: 1
Video Card: Mobile Intel(R) HD Graphics
OpenCL Unavailable
Driver Version: 8.830.6.2000
Driver Date: 20110412000000.000000-000
Video Card Driver: igdumd64.dll,igd10umd64.dll,igd10umd64.dll,igdumdx32,igd10umd32,igd10umd32
Video Mode: 1280 x 1024 x 4294967296 colors
Video Card Caption: Mobile Intel(R) HD Graphics
Video Card Memory: 1024 MB
Video Rect Texture Size: 16384
Serial number: Tryout Version
Application folder: C:\Program Files\Adobe\Adobe Photoshop CS6 (64 Bit)\
Temporary file path: C:\Users\Michael\AppData\Local\Temp\
Photoshop scratch has async I/O enabled
Scratch volume(s):
Startup, 682.5G, 559.7G free
Required Plug-ins folder: C:\Program Files\Adobe\Adobe Photoshop CS6 (64 Bit)\Required\
Primary Plug-ins folder: C:\Program Files\Adobe\Adobe Photoshop CS6 (64 Bit)\Plug-ins\
Additional Plug-ins folder: C:\Program Files (x86)\AKVIS\
Installed components:
   A3DLIBS.dll   A3DLIB Dynamic Link Library   9.2.0.112
   ACE.dll   ACE 2012/01/18-15:07:40   66.492997   66.492997
   adbeape.dll   Adobe APE 2012/01/25-10:04:55   66.1025012   66.1025012
   AdobeLinguistic.dll   Adobe Linguisitc Library   6.0.0
   AdobeOwl.dll   Adobe Owl 2012/02/09-16:00:02   4.0.93   66.496052
   AdobePDFL.dll   PDFL 2011/12/12-16:12:37   66.419471   66.419471
   AdobePIP.dll   Adobe Product Improvement Program   6.0.0.1642
   AdobeXMP.dll   Adobe XMP Core 2012/02/06-14:56:27   66.145661   66.145661
   AdobeXMPFiles.dll   Adobe XMP Files 2012/02/06-14:56:27   66.145661   66.145661
   AdobeXMPScript.dll   Adobe XMP Script 2012/02/06-14:56:27   66.145661   66.145661
   adobe_caps.dll   Adobe CAPS   5,0,10,0
   AGM.dll   AGM 2012/01/18-15:07:40   66.492997   66.492997
   ahclient.dll    AdobeHelp Dynamic Link Library   1,7,0,56
   aif_core.dll   AIF   3.0   62.490293
   aif_ocl.dll   AIF   3.0   62.490293
   aif_ogl.dll   AIF   3.0   62.490293
   amtlib.dll   AMTLib (64 Bit)   6.0.0.75 (BuildVersion: 6.0; BuildDate: Mon Jan 16 2012 18:00:00)   1.000000
   ARE.dll   ARE 2012/01/18-15:07:40   66.492997   66.492997
   AXE8SharedExpat.dll   AXE8SharedExpat 2011/12/16-15:10:49   66.26830   66.26830
   AXEDOMCore.dll   AXEDOMCore 2011/12/16-15:10:49   66.26830   66.26830
   Bib.dll   BIB 2012/01/18-15:07:40   66.492997   66.492997
   BIBUtils.dll   BIBUtils 2012/01/18-15:07:40   66.492997   66.492997
   boost_date_time.dll   DVA Product   6.0.0
   boost_signals.dll   DVA Product   6.0.0
   boost_system.dll   DVA Product   6.0.0
   boost_threads.dll   DVA Product   6.0.0
   cg.dll   NVIDIA Cg Runtime   3.0.00007
   cgGL.dll   NVIDIA Cg Runtime   3.0.00007
   CIT.dll   Adobe CIT   2.0.5.19287   2.0.5.19287
   CoolType.dll   CoolType 2012/01/18-15:07:40   66.492997   66.492997
   data_flow.dll   AIF   3.0   62.490293
   dvaaudiodevice.dll   DVA Product   6.0.0
   dvacore.dll   DVA Product   6.0.0
   dvamarshal.dll   DVA Product   6.0.0
   dvamediatypes.dll   DVA Product   6.0.0
   dvaplayer.dll   DVA Product   6.0.0
   dvatransport.dll   DVA Product   6.0.0
   dvaunittesting.dll   DVA Product   6.0.0
   dynamiclink.dll   DVA Product   6.0.0
   ExtendScript.dll   ExtendScript 2011/12/14-15:08:46   66.490082   66.490082
   FileInfo.dll   Adobe XMP FileInfo 2012/01/17-15:11:19   66.145433   66.145433
   filter_graph.dll   AIF   3.0   62.490293
   hydra_filters.dll   AIF   3.0   62.490293
   icucnv40.dll   International Components for Unicode 2011/11/15-16:30:22    Build gtlib_3.0.16615
   icudt40.dll   International Components for Unicode 2011/11/15-16:30:22    Build gtlib_3.0.16615
   image_compiler.dll   AIF   3.0   62.490293
   image_flow.dll   AIF   3.0   62.490293
   image_runtime.dll   AIF   3.0   62.490293
   JP2KLib.dll   JP2KLib 2011/12/12-16:12:37   66.236923   66.236923
   libifcoremd.dll   Intel(r) Visual Fortran Compiler   10.0 (Update A)
   libmmd.dll   Intel(r) C Compiler, Intel(r) C++ Compiler, Intel(r) Fortran Compiler   10.0
   LogSession.dll   LogSession   2.1.2.1640
   mediacoreif.dll   DVA Product   6.0.0
   MPS.dll   MPS 2012/02/03-10:33:13   66.495174   66.495174
   msvcm80.dll   Microsoft® Visual Studio® 2005   8.00.50727.6195
   msvcm90.dll   Microsoft® Visual Studio® 2008   9.00.30729.1
   msvcp100.dll   Microsoft® Visual Studio® 2010   10.00.40219.1
   msvcp80.dll   Microsoft® Visual Studio® 2005   8.00.50727.6195
   msvcp90.dll   Microsoft® Visual Studio® 2008   9.00.30729.1
   msvcr100.dll   Microsoft® Visual Studio® 2010   10.00.40219.1
   msvcr80.dll   Microsoft® Visual Studio® 2005   8.00.50727.6195
   msvcr90.dll   Microsoft® Visual Studio® 2008   9.00.30729.1
   pdfsettings.dll   Adobe PDFSettings   1.04
   Photoshop.dll   Adobe Photoshop CS6   CS6
   Plugin.dll   Adobe Photoshop CS6   CS6
   PlugPlug.dll   Adobe(R) CSXS PlugPlug Standard Dll (64 bit)   3.0.0.383
   PSArt.dll   Adobe Photoshop CS6   CS6
   PSViews.dll   Adobe Photoshop CS6   CS6
   SCCore.dll   ScCore 2011/12/14-15:08:46   66.490082   66.490082
   ScriptUIFlex.dll   ScriptUIFlex 2011/12/14-15:08:46   66.490082   66.490082
   tbb.dll   Intel(R) Threading Building Blocks for Windows   3, 0, 2010, 0406
   tbbmalloc.dll   Intel(R) Threading Building Blocks for Windows   3, 0, 2010, 0406
   TfFontMgr.dll   FontMgr   9.3.0.113
   TfKernel.dll   Kernel   9.3.0.113
   TFKGEOM.dll   Kernel Geom   9.3.0.113
   TFUGEOM.dll   Adobe, UGeom©   9.3.0.113
   updaternotifications.dll   Adobe Updater Notifications Library   6.0.0.24 (BuildVersion: 1.0; BuildDate: BUILDDATETIME)   6.0.0.24
   WRServices.dll   WRServices Friday January 27 2012 13:22:12   Build 0.17112   0.17112
   wu3d.dll   U3D Writer   9.3.0.113
Required plug-ins:
   3D Studio 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Accented Edges 13.0
   Adaptive Wide Angle 13.0
   ADM 3.11x01
   Angled Strokes 13.0
   Average 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Bas Relief 13.0
   BMP 13.0
   Camera Raw 7.0
   Chalk & Charcoal 13.0
   Charcoal 13.0
   Chrome 13.0
   Cineon 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Clouds 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Collada 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Color Halftone 13.0
   Colored Pencil 13.0
   CompuServe GIF 13.0
   Conté Crayon 13.0
   Craquelure 13.0
   Crop and Straighten Photos 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Crop and Straighten Photos Filter 13.0
   Crosshatch 13.0
   Crystallize 13.0
   Cutout 13.0
   Dark Strokes 13.0
   De-Interlace 13.0
   Dicom 13.0
   Difference Clouds 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Diffuse Glow 13.0
   Displace 13.0
   Dry Brush 13.0
   Eazel Acquire 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Embed Watermark 4.0
   Entropy 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Extrude 13.0
   FastCore Routines 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Fibers 13.0
   Film Grain 13.0
   Filter Gallery 13.0
   Flash 3D 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Fresco 13.0
   Glass 13.0
   Glowing Edges 13.0
   Google Earth 4 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Grain 13.0
   Graphic Pen 13.0
   Halftone Pattern 13.0
   HDRMergeUI 13.0
   IFF Format 13.0
   Ink Outlines 13.0
   JPEG 2000 13.0
   Kurtosis 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Lens Blur 13.0
   Lens Correction 13.0
   Lens Flare 13.0
   Liquify 13.0
   Matlab Operation 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Maximum 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Mean 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Measurement Core 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Median 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Mezzotint 13.0
   Minimum 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   MMXCore Routines 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Mosaic Tiles 13.0
   Multiprocessor Support 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Neon Glow 13.0
   Note Paper 13.0
   NTSC Colors 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Ocean Ripple 13.0
   Oil Paint 13.0
   OpenEXR 13.0
   Paint Daubs 13.0
   Palette Knife 13.0
   Patchwork 13.0
   Paths to Illustrator 13.0
   PCX 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Photocopy 13.0
   Photoshop 3D Engine 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Picture Package Filter 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Pinch 13.0
   Pixar 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Plaster 13.0
   Plastic Wrap 13.0
   PNG 13.0
   Pointillize 13.0
   Polar Coordinates 13.0
   Portable Bit Map 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Poster Edges 13.0
   Radial Blur 13.0
   Radiance 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Range 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Read Watermark 4.0
   Reticulation 13.0
   Ripple 13.0
   Rough Pastels 13.0
   Save for Web 13.0
   ScriptingSupport 13.0
   Shear 13.0
   Skewness 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Smart Blur 13.0
   Smudge Stick 13.0
   Solarize 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Spatter 13.0
   Spherize 13.0
   Sponge 13.0
   Sprayed Strokes 13.0
   Stained Glass 13.0
   Stamp 13.0
   Standard Deviation 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Sumi-e 13.0
   Summation 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Targa 13.0
   Texturizer 13.0
   Tiles 13.0
   Torn Edges 13.0
   Twirl 13.0
   U3D 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Underpainting 13.0
   Vanishing Point 13.0
   Variance 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Variations 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Water Paper 13.0
   Watercolor 13.0
   Wave 13.0
   Wavefront|OBJ 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   WIA Support 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   Wind 13.0
   Wireless Bitmap 13.0 (13.0 20120305.m.415 2012/03/05:21:00:00)
   ZigZag 13.0
Optional and third party plug-ins:
   ArtWork 6.0.1491.8030
   Sketch 13.0.2473.8439
Plug-ins that failed to load: NONE
Flash:
   Mini Bridge
   Kuler
Installed TWAIN devices: NONE

Presets sought for fine-tuning skin tones

Are presets available to fine tune skin tones in Camera Raw, perhaps by tweaking colors and hue/saturation/luminance settings in the HSL/Grayscale menu?
I like almost everything about ACR except how the default settings render skin tones on my 5D's CR2 files. I bought a copy of Margulis' 'Professional Photoshop' and now can consistently "fix" what I didn't like, but I suspect as much or more could be accomplished with knowledgeable tweaking in the HSL menu.
I found one preset, after visiting this adobe forums thread:
http://www.adobeforums.com/webx/.3bbed80a/1
... but that's all. I think they'd be a snap for an expert retoucher to create -- e.g., warm_with_pink.xmp, warm_with_yellow.xmp, presets for skin tones of different ethnicities, etc.
Of course, I've tried to do it myself, by nudging orange, red, yellow and magenta sliders, but ... with limited success, to put it mildly. I'd much rather start out with tweak-the-skin-tones presets from an expert, and then adjust to taste. If I can find 'em.

Thanks for the links to chromoholics and creativepro. My last experience with creating a custom camera profile wasn't that successful, but that was a long time ago, and I probably shouldn't let that discourage me from trying again. If that's the ultimate solution, you've told me what I need to know.
For whatever it's worth, though, I've shot with two 5Ds, and can't tell the CR2s they produce apart. ACR at default settings yields the same (to me) objectionable, pale apricot skin tone from the CR2s of both cameras.
I would fix this in ACR, if I knew how. I don't; I'm not that good with the HSL sliders; I have to do it in Photoshop. But because the 5D is a popular and fairly high end camera, I guessed, or hoped, that professional wedding or fashion photographers who live and die by nuances of skin tone might have sub-directories full of presets to nudge 5D skin tones ... and, further, that they'd generously share said preset collection with the world.

Skin tone adjustments in Aperture

I normally use Photoshop for editing, and Aperture as an "image management" and output system. However, I just did a shoot of my brother's baby and I have 200+ pictures to correct so PS is not an option this time. My nephew's skin is very red, so I'm wondering what the best way to correct that is in Aperture. I normally use selective color or curves in PS, but neither of those are available in Aperture.
Thanks,
Chris

Hi there,
Sounds like we use the same prcedure for similar reasons.
Yes and no to your question, and sadly, a bigger NO that there isn't a true workflow. We're into the best workaround FOR YOU. Mine is FOR ME, and (as my wife will tell you, I'm unique .... which I take as a compliment, errrrr).
Yes, the time to batch export and then import may be faster, technically, possibly, maybe, who knows?
No, the issue of getting the photos tagged back into the stacks (if this is of use to you) becomes manual activity and is unsupported by the system outside of sort conditions.
You can easily overwhelm memory with CS2 loading images and Aperture there as well, so I tend to do 10 or a dozen at a time ... more if image size and memory permits. Run an Action in CS2 unless masks are needed, Save and Close. On Save, the image is placed back into Aperture without any further work on your (i.e. MINE since I am LAAAZY).
BTW, somebody else mentioned this. I am a big fan, but have ghad to learn to work with quarter tone Levels. If the color shift is most needful on the skin tones, and less objectionable elsewhere, you may be able to use the quarter tone adjusts in combination with exposure and white balance adjustments within Aperture. Oh, how I would like selection and masks!!!!

What are the ranges for correct skin tones using RGB%?

What are the ranges for correct skin tones using RGB%? Used to using a scale from 0 to 255. But with LR it's RGB , I know 100% RGB is white. What do you use for %?

While I whole heartedly agree that we should not be constrained to hard and fast numbers for accurate skin tones ... LR does offer an RGB color readout ... I am assuming they made those percentages available for the user to monitor the breakdown of specific color values for a reason ... so we could have an indication of how a specific color in an image will be reproduced ...
I liken this to using a speedometer ... while many experienced drivers in well tuned vehicles can travel on the highway at the prescribed legal speed limit without really monitoring the readout on the dashboard ... however, there are times when they would like to verify the speed at which they are traveling ... the RGB color percentage readout in LR is no different ... just a source of information to verify you are achieving what you desire ...
Again, going by specific numbers in this instance, I believe, could lead to problems ... there may be times when you may desire or actually need to adjust skin tones ... even though a pleasing WB has been achieved ... the relationship of R, G and B can be used to get you there.
From what I have researched and put into practice with LR the following seems to be a good starting point and the data was borrowed from "the pixelation" blog:
R: highest %
G: middle %
B: lowest %
To get a little more specific. In general,
R: Y + (15-20)
G: average of R and B
B: R – (15-20)
For example, the following values represent common Caucasian skin tones using the rules above:
* R: 80%; G: 70%; B: 60%. R is 20 points higher than B, and G is midway between R and B. That’s perfect.
* R: 86%, G: 78%; B: 70% also reflects a nicely balanced skin tone. Again, G is midway between R and B, and R is 16 points higher than B. This, too, illustrates a great relationship among the colors.

Layer Mask with Adjust Skin Tones?

Is there a way to use a layer mask with the adjust skin tone option in PE4? I like what it did to the skin , but not what it did to the wall in the photo. Thanks.

Hi Jon there are at least three ways.
#1..Make a selection.. then apply the skin tone option. Only the selected area will be active.
#2... Duplicate the layer you want to work on. Apply the skin tone. Then hold the Ctrl key and make a new layer. The new blank layer will be below the layer with the skin tone. Then hold the Alt key and click between the two layers to group them. The skin tone will disappear but you can paint it back with a black brush, or remove with an eraser. Just be sure to have the blank layer active.
#3... Duplicate and apply tone as in #2. Open an adjustment layer, like levels, directly below the skin tone layer. Click ok do not make any adjustments. Then as above hold the Alt key and click between the layers to group them, look for the link symbol. Now you can remove with a black brush or add with a white brush.
Butch

Matching Skin Tones

In the tutorial "Photoshop Tutorial:Adjusting Skin Tones" (huge address so did not include) you find the perfect skin tone (ref), use color sampler tool and in info change to HSB. You change the brightness here to same value as troublesome skin tone pic (target) and jot down RGB values. Next you make a selection of the target and make a curves adjustment layer. So far so good.
Here is where I get confused.
"Step 5: Using Curves
Once you have all the skin area selected, it's time to create an Adjustment Layer. To do this, go to Layer, Adjustment Layer, and then Curves. Then, going through each curve: Red, Green, and Blue, add a point on each one. Once that is done, hold on Shift+Command for Mac users and Shift+Ctrl for PC users and click on the area that you sampled earlier (the sample where you checked the HSB settings). Once you have sampled the color, all you need to do is replace the figures found in each R, G, and B curves with the numbers you jotted down in Step 3".
When asked to add a point on each curve how do you know where to click on the line for point? Where do you get the points? I clicked on the target and the point appeared, but did not stay. So I then clicked on line at that location. Is that what is meant?
"When you use Shift+Ctrl on the sampled area" is this on the ref. area? What does this do? I see no change.
"Once you have sampled the color, all you need to do is replace the figures found in each R, G, and B curves with the numbers you jotted down in Step 3." I assume you grab the point on the lline that was added above and drag to the new value?
Perhaps someone with experiece in this or similar method can provide some clues.
Thanks

With the Curves dialog open, Ctrl+Shift+clicking in the image will place a point in the curve in all the channels at that position. From what i understood of the tutorial you Ctrl+Shift+click on a skin tone that you want to modify and then modify those points so that that section of the skin matches with the ref area.
A faster method would be to just paint with that color on a separate layer and then set that layer to the Color blend mode. It doesn't always work but it's usually worth a try before messing around with per channel curves adjustments.

I have photoshop CS2, wanting to adjust the skin tones

I take photos of clothing for a on-line seller. I have been using a Nikon D-200 which seems not to like the various blues of jeans. When I adjust the color of the the jeans, it of course changes the skin color. How could I isolate the skin for color correction. Any ideas would be much appreciated

Hi John, Thank you for the tip, I will practice the methods you suggest.
Sincerely,
Cherie
Cherie's Designer Boutique
Direct Website; www.cheriesboutique.com
eBay Store; www.ebaycheries.com
(Monthly Special)
*ADD 2 or More Items To Your Order And Receive An Additional 15% Off Our Already Low Prices By Entering The Following Promotion Code On Checkout - CDBDC2 To Qualify You Must Have 2 Or More Items In Your Order and The More You Buy The More You Save So Its A Great Opportunity To Stock Up On Your Favorite Designer Brands!!
Date: Fri, 27 Nov 2009 17:57:21 -0700
From: [email protected]
To: [email protected]
Subject: I have photoshop CS2, wanting to adjust the skin tones
You've almost answered your own question. You'll need to "isolate" the skin areas in your photograph(s). This is a tedious process that takes some getting used to. I tend to use the "lasso" tool, but you could use something like the "magic wand" tool. If it's the jeans you want to manipulate, you'll have to "select" them separately. I'd get the selections and then save them separately ( Selections > Save Selections ). You might want to post this in the Photoshop section of these forums and see what they come back with over there. Up until now, it sounds like you're color correcting the entire photograph, so nice blues, but not so nice skin tones. Makes sense to isolate them from eachother, no?
>

Skin tone balance? (as opposed to white balance)

much like there's a way of automating white balance (through the eye-dropper or auto-WB), i wonder if there's a way of matching skin tones. is there some sort of "match hue" option where you can make someone's forehead be the same hue in every photo (without doing it manually)?
there's such an option in apple's final cut pro in the 3-way color corrector. it's a very handy and time-saving feature.
thanks!

This is only half the answer. Have you seriously tried to edit large numbers of files with this method? It's an exercise in frustration.
I just started up Aperture to see how many Tabs it takes to go from White Balance to Exposure, 7 from memory as it highlights every sub-menu along the way. I say from Memory because it decides this time (a first) it's not going to move to the next field no matter how many times Tab is pressed. And when my workflow is Exposure, then White Balance, (don't get me started about bright sparks who tell you to do it the other way), then H&S, then Saturation, which is how many Tabs? Somewhere between 35 and 40. And you have to take your eyes of the screen to see where you are.
I've said this quite a few times in these forums, and yes, I have posted a number of times in the feedback, that the best implementation of this is Capture 1 where (on PC) Control +/- controls exposure, Shift +/- White Balance etc. And it works perfectly on a network, unlike Bridge which just keeps crashing.
As someone who edits anywhere between 1100 and 2000 CR2 files a week there is no way I could use Aperture in our Companies workflow. I use it for my personal work where time and volume are not crucial considerations but file management is.
Even though Capture 1 is long in the tooth, ie no H&S, no Recovery yadda, yadda, yadda, to my knowledge no other Professional level RAW processor has this direct entry of important adjustment values and once used any other method is just tedious.
While I love most of the other features, in my opinion, the Tab method of moving between adjustments as implemented in Aperture is half baked and very buggy.
End of rant.
Cheers,
Terry

Skin tone

Similar Messages

Maybe you are looking for