Strong colour shift when reselecting Adobe Standard camera profile

I'm having this curious problem with Nikon V1 NEFs (raw files) in Lightroom 4 beta.
In the develop module, Adobe Standard is selected as the default camera profile. If I switch to one of the other profiles (for the V1, the options are Camera Landscape, Neutral, Portrait, Standard, and Vivid) and then switch back to Adobe Standard, I get a strong color shift in the blues, which move towards teal. It looks like a white balance shift, but the white balance settings themselves don't change.
I've attached three screenshots, the first showing an untouched file with Adobe Standard selected as the default profile in the develop module, then with the Camera Vivid profile selected, and then with Adobe Standard reselected. Besides changing the profile, there are no edits on this file: all I've done is import it, put it in a collection, switch to the develop module, select the Camera Vivid profile and then reselect Adobe Standard.
The color shift happens regardless of which camera profile I pick before reslecting Adobe Standard. Interestingly, while the colors are off in the develop module, they're correct in the library module. Switching back and forth between library and develop doesn't fix the problem -- as long as Adobe Standard has been reselected in develop, the colors are off in that module but correct in library. The only way I've found to clear the color shift is to click reset in develop. Select another camera profile, though, and then reselect Adobe Standard and the problem comes right back.

Yes. This is a bug that has been reported/fixed after the public beta build was made ready. Somehow it did not make it to the final public beta release note. The current workaround is to relaunch LR4 or
a) Copy Settings (check all except Calibration),
b) Reset,
c) Paste Settings.
This will invalidate some internal memory cache that went stale.
-Simon

Similar Messages

Red skin tones esp. with Adobe Standard camera profile

I'm shooting with a 1Dsmk3 in raw. I'm always having to channel mix to get the red
tones out. Even on Landscapes a littel red removal is usually needed. Just curving up in luminosity channel is all that It needs sometimes, but usually a combination of the two.
I'm curious about others experience with this.

Can you post an example image demonstrating the issue?
Eric

Colour shift when placing PSD files into illustrator

Hi there
I have tested this issue on CS 3,4 and 5.
bascially if I create a CMYK document with a colour image and save this down as a psd file with the coated Fogra 39 embedded in it. If I create a new file within Illustrator with the same colur management and place the psd file into the document and check the link option (so it is a linked file), the colour shifts when using the colour picker. If I print the document from each APP they visually look different as well.
If I place the psd into illustrator without selecting the link option the colour has the same CMYK values as the psd within Photoshop and also prints correctly.
i can only assume that there is an option somewhere in regards to the "link" option and how this changes tha colour values somewhere? If not is there anyway I can get around this issue so I can use linked files without the CMYK values changing?
Thanks in advance
Paul

Hi guys
Thanks for the responses.
I use bridge to blanket the colour settings so this i feel this is not the issue here. If you have a moment and would kindly create a colour tint within PS of what ever colour, save this down as any format and place this into illustrator with the link checkbox checked you will see the colour data has physically changed for the CMYK values. This results in the prints looking different as well. If you deselct the link check box when placing the file the CMYK values are the same.
I tried the overprint preview option. This changes the viewable colour on screen but not the CMYK data of the file.
There seems to be a fundamental floor with this link option for some reason.
I might have phone Adobe direct for this iisue as I cannot find a fix for this.
Many thanks
Paul

Aptus II 8 Adobe Standard color profile missing from LR3.5?

I was wondering, several versions ago, (2.7 I believe) the Leaf Aptus II 8 aka Leaf Aptus 40 was added to the list of supported cameras. My version of Lightroom 3.5 (MacOs 10.6.8) can read these files, however there is no Adobe Standard color profile for this back. When I go to the calibration tab it just shows embedded. These files are uncompressed .mos files and not jpegs or tifs. With my Leaf Aptus 75 I use the Adobe Standard profile and like it. Is this a bug or just an unsupported feature of the Aptus 40?

Thanks, that sounded like a good idea and it got me thinking. Why not trash the profile and import it from another computer. Doing that I found that the file sepraratly downloaded on another computer has the same problem so I can't move it over. The other computer is OS 10.5 Leopard whereas mine is 10.6 Snow Leopard. This leads me to believe that this is an Adobe issue.
Would any other Mac LR3 users please go to Library>Application Support>Adobe>Camera Raw>Lens Profiles>1.0>Canon and see if there is an "exec icon" next to the file named...... Canon EOS 5D Mark II (Canon EF 16-35mm f2.8 L USM) - RAW.lcp
I'd appreciate it and it will help isolate the problem.
Thanks
Greg Eddinger

Adobe Standard Camera Calibration greatly underexposes in ACR 7.0

With all ACR defaults, including Adobe Standard (2012) camera calibration, when I open a Raw image (NEF from Nikon D3x or D3s), the blacks are blocked up and the entire histogram is "squashed" down and both ends are pulled in toward the middle, further reducing the dynamic range. The resulting excessive contrast looks horrible. All other settings are at zero, except lens correction is checked On. (Clicking that on or off has almost no effect on the histogram.)
Just changing the Camera Calibration to 2010 helps the image tremendously. But I notice it has set Blacks +25, Clarity +7, and has made a custom Point curve that is essentially an inverted S-curve. This successfully unblocks the shadows, but it seems bizarre that the new default Adobe Standard would be so far off.
I don't know if I'm missing a new, hidden setting, or if that's an issue unique to Nikon D3-series.
Any insight would be appreciated.
Thanks,
Tom

Thanks, Jeff. I hadn't made any changes to ACR, but went back and reset them anyway, with the same results.
What's puzzling is that the NEF opens pretty much the same in ACR 2010 as it does in Nikon's Capture NX2, with a histogram that looks similar to the JPEG one on the camera. When I use PV 2012, I get blocked up shadows, and an overall darker image. From top to bottom: ACR6, ACR7, Capture NX2.

How do I find/load more standard camera profiles than "Adobe Standard"

I have reloaded Lightroom 3.3 several times. Still the only camera profile I have available is Adobe Standard. I would like to have access to profiles like Camera Standard and Camera Vivid. How can I load and/or get these to show up?

MDButler17 wrote:
I expect that with some of the profiles are camara specific, but is there a reason I can't see more of the generic profiles (e.g., Camera Vivid)?
generic and profiles are two words that just can't go to together, a complete oxymoron I am afraid. Profiles are specific to a device that has been profiled, in this case the colour reproduction of a camera sensor. Adobe profiles every camera it supports, this is the profile called Adobe Standard for you camera. On some cameras Adobe also produce other calibrations, these often mirror the names used by the camera manufacturers to describe their own profiles. Most camera manufacturers do not actually produce more than one profile themselves, instead they produce a choice of different colour interpretations that can be applied only to the in camera jpgs. In these case Adobe don't usually produce anything other than the Adobe Standard.
You can, of course, make your own calibration profiles specific to your actual cameras sensor (sensors themselves varies so even the profiles supplied by the manufacturers and Adobe may not actually match your sensor. The tools and instructions on how to do this are supplied free by Adobe here.
If your camera has profiles other than the stand, it will be located
On Mac OS X: /Library/Application Support/Adobe/CameraRaw/CameraProfiles
On Windows 2000 / XP: C:\Documents and Settings\All Users\Application Support\Adobe\CameraRaw\CameraProfiles
On Windows Vista/7: C:\ProgramData\Adobe\CameraRaw\CameraProfiles

Colour shift when using 4.2 Edit In to adjust a NEF file in CS6

If I choose Edit In and CS6 the resulting image in CS6 shows a marked colour green/yellow colour shift.
The LR4 external editor is configured to edit using ProPhoto RGB with 16 bit TIFF.
However, if I use the Export option with the same settings and then open the image in Photoshop it is fine.
Equally, if I first convert the NEF image to a DNG and then use Edit In with the same settings it also appears fine in Photoshop. This would appear to rule out any issues with monitor profiles (monitor profiled with i1).
Therefore this appears to be an issue with NEF files (Nikon D3) using the Edit In facility.
Also for some obscure reason it also does not always give the option to Edit a Copy with Lightroom Adjustments and just goes straight to Photoshop (even though it has been adjusted in Lightroom!).

manicfoto wrote:
Richard, perhaps I have not made the issue clear. If I import an image into Lightroom and choose Edit In Photoshop it should go straight to Photoshop as no changes have been made in Lightroom. However, if I make any adjustments in the Develop module and choose to make further changes in Photoshop I should have the option to Edit a Copy with Lightroom Adjustments etc. This dialog is not offered consistently.
If I make a change in Photoshop it should (and does) correctly save it as a new TIFF file. Again if I make any adjustments in Develop module and then choose to make further changes in Photoshop to the TIFF file it should still offer the dialog box with the copy options. Again this is not happening consistently.
Richard correctly explained how 'Edit In' works with raw files, at least that's the way it does on my Windows 7 64 bit system.
When selecting 'Edit in' with a raw file the 'What to Edit' popup with options for 'Edit a Copy with LR adjustments,' 'Edit a Copy,' and 'Edit Original' will not appear. Instead a TIFF file is created in system memory with LR adustments applied, which then opens in PS. Until you hit 'Save' in PS the TIFF file resides only in system memory. Once you hit 'Save' or Save As' (with the same folder location) the TIFF file will appear inside LR with both the LR and PS adjustments applied.
manicfoto wrote:
trshaner, I have done some further testing of the DNG files, and they do, in fact, also exhibit the same colour shift behaviour, although the amount of the shift seems to depend on the original image - some images show a more marked shift than others which was not obvious to me at first.
This is consistent with LR output rendering engine problem if both the NEF and DNG copy for a specific image take on the same color shift. Since the effect is very subtle on a single conversion I can see where you might have confused the DNG as looking OK.
manicfoto wrote:
I then performed another test with a TIFF file and although the change was smaller the colour definitely shifts, with the amount of shift being determined by the contents of the original image, so I have to conclude that I have the output rendering issue mentioned earlier in the thread.
Incidentally, the colour shift issue is also found if I use the option to Open as a Smart Object in Photoshop.
I have re-installed Lightroom 4.2 but the problem is still the same.
To really confirm that this is being caused by the LR output rendering engine you will need do an additional 'Edit a Copy with LR Adjustments' to the TIFF file. This will create a 2nd TIFF file, which you can then select and then 'Edit a Copy with LR Adjustments.' I would do this at least three times to insure you can see the "cumulative' effect from the LR output rendering engine conversion. You will want to compare the last TIFF file (4th) with the original (1st) TIFF file.
Please try this and post the histograms for the original TIFF and last Tiff with three cumulative 'Edit a Copy with LR Adjustments,' or confirm that's what you have already done in the above posted histograms.

Lr5 Camera Calibration Only Adobe Standard under profiles

Hi I have Lr5 and I am shooting a Sony A77.
In the Develope Module - camera calibration - In the Profiles I only have Adobe standard and nothing else.
Can you help please.
Allan

The usual list of camera profiles is only for Nikon and Canon cameras. You'd have to create your own profiles, or find someone sharing.

Getting a calendar to show up with a date field when using Adobe Standard 6.0.3

Is the calendar available with this version of Adobe Standard? I know with Adobe Reader 7.0 it is, but we have to use Adobe Standard 6.0.3 and I would like to make use of the calendar.
Thanks.

The calendar control was only implemented for windows in the AcroForms plugin for Reader 7. There is no alternative in 6.x.

Adobe Beta Camera Profiles

Sorry to ask such a stupid question, but how do you use/apply the profiles?
I know they are selected in the camera calibration tab, but are they camera specific? What is the best one to choose for 'normal' use? 'Camera standard'?
Thanks.

I have been really impressed with the camera profiles - in my case the Standard NEF for a D3 - and posted a complimentary message to that effect on the Labs LR beta2 forum under the pseudonym Rockshead.
The revelation that each profile is camera specific raises a particular question about that for the D3. Whilst the conversions at 'normal' ISO ratings are - as I said - stunning; the same cannot be said of those for the very high ISO numbers, available with the D3, compared to the conversion in View/CaptureNX. Applying LR noise reduction - by the bucket load - cerrtainly aids the definition, but has little effect on the colour differences.
I suppose my question is, is this something that we have to live with; or is there hope for the future that this will be able to be sorted using tweaked profiles. Let me hasten to say, I am content to live with it for the relatively few ultra high ISO pictures I deal with. No complaints at all from me on the way Adobe has tackled this problem. Nevertheless, regular use of high ISOs is coming, and so it is a legitimate question.

Adobe labs camera profiles

I downloaded camera profiles from Labs.adobe.com . It showed up in CS3 but not in Lightroom 2.0.
How do I get it to show in Lightroom 2.0. ?

Eric,
Has/will the LR team considered:
1. Adding a camera calibration profile drop-down list option in the Quick Develop Panel in the Library, in between the White Balance and Tone Control panes? I was given a tip to make a preset for each profile, which works really nicely in the Develop Module. However, the option of accessing them through the saved preset drop-down list in the Library Module is cumbersome when you have as many presets that I have (over a hundred and counting).
2. Moving the Camera Calibration panel between the White Balance and Tone Control panes in the Develop Module? It seems that it is better to apply the camera profile settings before working on tone settings.
3. Updating the r-click and saved preset menus to include something along the lines of Presets>Preset Folders>Preset List? As mentioned earlier, I have over a hundred presets. When you have more than forty-two, you have to scroll up and down the list to find the preset you want to apply. It would be really nice if you opened the list, hovered over the word presets in the menu list, hovered over the folder that would contain the preset you want, then choose the preset.
BTW, a tip of the hat to the LR team. LR2 is something to be proud of. Thanks for making it available.
Regards, JML

Colour shifts when merging layers

We are Fine Art Printers using PS4 on Windows XP and 7. Because we have to proof individual colours and individual areas we often have over 20 adjustment layers and masks on images greater than 1 metre square. The masks get hugely complicated and the images sizes are often well over 1GB. Normally we would take a Snapshot(?) Shift+Ctrl+Alt+E as we get an area correct, then move on to proof the next. We have an image with dark blue/black cloud and noticed the image lost contrast and colours subtly changed when we did this. We have tried flattening layers, merging visible layers, merging down adjustment layers and even saving as a JPEG, but the colours change slightly each time layers are merged. A global change like Levels is not an option for fine art images. We need to simplify the images and reduce the memory used for printing.
Can anyone help?

I just had the same thing happen on a psb file (also fine art). It does not appear to be display interpolation or another familiar issue. I compare previous versions of the file that contain the correct color with the flattened, incorrect version, and then go back in the history to a point before flattening and make a corrective color move that approximates a good final result when flattened. This workaround does not solve the problem exactly; I suspect PS discards some data in the flattening process of large files. This is happening in CS6, 2.5 gb, 16-bit RGB psb file with a Windows 7 OS. Hope you solved your particular problem.

Colour shift when exporting from lightroom 5 into Photoshop CS6

Hi there,
Having a really weird problem in Lightroom/Photoshop that no amount of Googling can seem to fix.
When I grade an image for colour in lightroom, and then use the "edit in" function to send the file to Photoshop, the file is a completely different colour.
Here's an example:
I'm using SRGB for both Lightroom and Photoshop, and the "preserve embedded profiles" is selected for RGB, CMYK, and gray.
If anyone can shed some light on this, it would be great. I don't want to have to use ProPhotoRGB, because most of my work is delivered online.
Thanks in advance
John

I am also having this issue with the "Merge to HDR Pro" function in both LR5.2 and PSCC. When the image is viewed at 50% image size in the HDR app everything appears fine. However, once you start to zoom in the image begins to crop out segements starting on the right hand side. See the screen shots below:
Image at 50%
Image at 66%
Image at 100%
MacBook Pro 2.7 GHz Intel Core i7 16GB RAM 512GB SSD (early 2013) NVidia GT650M Mac OS X 10.9

Importance of precise colour temperature when creating dual-illuminant DNG profile

I own an X-Rite ColorChecker Passport and would like to use it to create a dual-illuminant profile for my camera (and every lens combination) to use in LightRoom.
After extensive research I have a few lingering questions:
1)      How important is it to nail the colour temperature. Do you *absolutely have to* photograph the ColorChecker under Illuminant A and D65, respectively, down to the last Kelvin?
2)      If I don’t nail it down that precisely, will the resulting profile be any less accurate?
3)      If getting the respective colour temperatures exactly right is indeed that important, is it OK to use 2 diffused and gelled speedlites with Lee/Rosco color correcting gels to illuminate the Colorchecker? (The Lee / Rosco gels do not have the exact CTO gel for the 2850K specified in the DNG specification for Illuminant A, but it gets close)
4)      If it will really aid profile accuracy, how does one get hold of reliable/certified light bulbs that produce the required colour temperatures? (I’m in the UK)
Your advice will be greatly appreciated.

The exact color temperatures (in Kelvin) are not that important within the standard daylight range (above 4000 K), because large number changes in color temperature actually represent small differences as far as camera color profiles go.
What is more important (rather than the exact number) is the spectral characteristics of the illumination. This isn't easy to characterize for the end user, but you can think of it in terms of bulb type. Most compact fluorescents are spectrally very different from actual daylight (even if the bulb is indicated as being "full spectrum"), for instance. My recommendation is to create a profile for the type of lighting you will be under, rather than trying to match the exact numbers.

When to apply a camera profile?

The beta profiles are great, but because they're sitting down there in the Calibration panel, I am wondering: is there a persuasive argument for applying them before other adjustments versus at the end of a Develop module top-to-bottom work order? Obviously you get a very different result if you switch profiles after applying, say, Vibrance and Saturation adjustments, than if you choose the profile as a first step.

> I am wondering: is there a persuasive argument for applying them before other adjustments versus at the end of a Develop module top-to-bottom work order?
To be clear, the profiles give you the option of using a different raw rendering, which is cool. But, it's NOT designed to be an image correction tool. It's designed to control the rendering of the colors from the start, ,ore than an alternative correction to be applied after you do a lot of work adjusting an image.
So, if you like a different profile for certain types of images, sure, go ahead and create a series of preset of several profiles and you can easily see which will be optimal, but I really wouldn't use the different profiles as a mainline correction workflow.

Strong colour shift when reselecting Adobe Standard camera profile

Similar Messages

Maybe you are looking for