What color space is shown first in RAW files?

When I first open a new folder of pictures (NEF RAW files) in Bridge, they are shown in a vibrant colorspace. After a minute or three the colors all fade to the RAW defaults seen in Camera RAW.
There are no other filetypes in the folder, so Bridge is seeing/assuming something about those RAW files before it changes.
What is that vibrant colorspace? Can I access it? See it displayed? Control it? There are times it would be very helpful to have access to it.
I'm using CS3 on Windows 7 (though the same thing happened with XP).
Thanks for any help.
Ed

When you first open the folder of RAW pictures it reads the JPEG data for generation of the thumbnail. Usually in a second or two that is replaced by the RAW thumb. What that looks like depends on your default RAW settings.
In CS4 there is an option to have the JPEG thumbs.
Click on this link. It gives a good explaination on the settings that determine RAW thumbnail appearance.
http://www.luminous-landscape.com/tutorials/cr-auto.shtml

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Is there a way in LR to tell what color space a photo is stored in?

I have a lot of 16 bit Tiff files in my Lightroom library. I am looking for an easy way to determine what color space has been assigned to them. The only way I know to find out is to open them in Photoshop. Does Lightroom have a way to tell me? That seems like a pretty basic capability for a high level photo software program like Lightroom, but I can't find it. Does the Tiff file still have the original RGB numbers that the RAW file had, or have they been changed to suite the color space used? If the original numbers are still there, then maybe the assigned color space does not matter, and I can change it if I want? I am Using Lightroom 5.5 on a windows 7 64 system.

In Lr5 - yes, well: sorta..
No display on right under Metadata, nor in lib filters, but smart collections have rule - see 'Color -> Source Color Profile'. Unfortunately, you need to know ahead of time what to look for, but still: it's better than nothing..
For example:
will round up all photos with Adobe RGB profile.
And you can have another with 'contains sRGB' ...
~R.

What color space as base in a brand guide?

What color space forms the base of a color brand guide? How do you start in terms of color spesifications? When I look at most guides it seems that Pantone is always the base, then CMYK, then RGB and Hex? Is RGB and Hex always gonna be a dithered version of the CMYK values or is it best practise to hand pick each one to make them look as close to the CMYK as possible? Is Pantone always mentioned first in the list because that's where the designer started?
Also, is best practise to mimmick the CMYK and Pantone colors so that the RGB and hex values look like them? Seems to me that most brand guides / visual manuals are made firstly for print, then they add the screen based color spaces.
In the enclosed example I also observe that the complete values are not always listed, in many cases the Y and K is missing in the CMYK values, does that mean it doesn't contain any black, or is it simply meaning zero? It rarerly occurs with the other color spaces.

For web, email and screen in general it should always be sRGB. Then you can be fairly certain that it will display correctly (more or less) in any scenario. sRGB wil also work for print (inkjet), it's just that many colors that can be printed are out of sRGB gamut, so it's a restriction that doesn't need to be there. sRGB is a small color space that can't reproduce very saturated colors - they're just clipped. So it's better to start with a larger space like Adobe RGB or even ProPhoto.
For editing purposes you want a large color space simply to have headroom and not hit the wall at every move. The final destination may well be a smaller space, like a printer profile. The software then converts to that destination profile as it goes to the printer. You can soft proof to the printer profile to get an impression of how the final result will look.
You can print directly from InDesign, but the typical InDesign workflow is to export a finished PDF. That is where you specify a final destination profile for the whole document, whether a certain CMYK profile for offset press, or an RGB profile for screen. So you have your master InDesign file, and output PDFs for each destination. The InDesign file can contain placed RGB images in any color space, while text and graphic elements are CMYK. Then everything is converted in one go at export.
You should always go through the PDF Export dialog carefully. Use the presets, but don't automatically accept defaults. For specific purposes, ask here or in the InDesign forum, where they deal with this all the time.
For screen, under "Output" use convert to destination, sRGB, include profile. Under "Compression", things aren't as obvious as they used to be (downsample to 96 or 100 ppi), because of the new retina displays that can benefit from a higher resolution. I hold my judgement on this one.

What color space does Adobe's Cinema Display have?

I just calibrated my Macbook Pro with a Spyder3Elite and got a bit desapointed when I descovered that the best color space it can show is sRGB. After finding this, and since I've been thinking about buying an iMac for a while, I got a bit frightened. Thus, I changed my atention to Adobe's Cinema Display in hope that it has a larger color gamut.
The thing is I can't seam to find anyone that can tell me what color space does this displays can produce, iMac nor Cinema Display. If there's anyone who has already calibrated any of these displays, can you tell me what's the best color space they can work on?
Thanks in advance.

Ok, I'll try to be clearer to the best of my abilities.
1st off, There are 2 kinds of color spaces. Device-dependent and device-independent. Hence, a display has a limited color gamut that it can produce, it has it's own color space.
When I calibrated mine, this was the result:
Purple: Adobe RGB 1998
Green: sRGB
Red: Display's Gamut
The thing is, before I calibrated my monitor, I thought it had an Adobe RGB 1998. Got pretty desapointed when I found out it didn't... Nevertheless, what I'm looking is to know if there's any Apple display with a larger gamut than the one from my Mac or if they're all sRGB...
Hope to have been more clear this time.

What color space are the Color Lookup presets meant for?

I've noticed that if I convert the same image to multiple color spaces and apply a 3D LUT with the new Color Lookup adjustment, the result is noticeably different. From experimenting, it seems that the lookup tables operate on whatever RGB value is given to them no matter what color space. Is there a certain color space these were optimized for? For instance, would a certain color space give me a more authentic 2-strip look than another because of the space they were sampled in? And if I create my own 3D LUTs, would I have to create a separate one for each color space in order to get a consistent look in all spaces?

So do you know what color space was used to create the presets that are there, such as 2-strip and 3-strip? Even though they don't know about color spaces, the different gammas on the input cause the look to come out different in all colorspaces, so it stands to reason that whatever color space the calculations and/or sampling was done in is closest to what was intended while the others are rough approximations. For things like "warming" it doesn't matter, but for ones that simulate actual films I'm curious to know, especially since the 2-strip ones looks a little different than when you just copy the green channel into the blue and green channels as described on all the websites.

I am using PS cs6 and lightroom and I am having a hard time know what color space to choose. The lab that I am using told me that their color space is sRGB. Do I need to have both PS and Lightroom set at sRGB or should I have PS set at adobe RGB and jus

I am using PS cs6 and lightroom and I am having a hard time know what color space to choose. The lab that I am using told me that their color space is sRGB. Do I need to have both PS and Lightroom set at sRGB or should I have PS set at adobe RGB and just set my export from lightroom as sRGB?

Please post in the Photoshop forum.
http://forums.adobe.com/community/photoshop
Bob

Possible to get the color space and resolution from the .eps file

Hi all,
We have using the InDesign CS3 5.0.4, windows, javascript. We need to get the color space and resolution of the graphics (.eps) file using scripting.
The properties of the image like (actualPpi and effectivePpi will return the value only for the .tiff. and .jpg etc) but it will not return the .eps file resolution values.
Kindly give me the suggesting for the decrepancies.
Regards,
Nagaraj

... open them programmatically in PhotoShop, read out resolution and color space ...
On opening them in Photoshop, it asks you "what resolution shall I use, and what color space shall I apply?"
A single EPS may contain any number of embedded bitmaps, with any horizontal and vertical resolution, and in any color space. You can use only a few of these with Illustrator -- and even only one at a time with Photoshop --, but other programs allow just about every possible combination.
Not to mention procedurally generated bitmaps, also possible with PostScript.

What steps do I take to edit raw files and save for web use, such as Instagram, Facebook, Websites, and emailing?

What Steps do I take to edit raw files and save for web use, such as Instagram, Facebook, Websites, and emailing?

When you open a raw file it will open in Adobe camera raw. That is where you can do most of the editing. Then it will be placed inside Photoshop where you can do more if needed.
Now you can use the save for web dialog to export your image as a png or jpg to use on those sites.

What Color Space Should I Shoot In.

First, I'll admit that the entire color management aspect of photography/monitors/printing, is a bit too dense for me to completely comprehend. However, I do have some working knowledge of it. So, here's my pre-LR setup.
I shoot in sRGB and used Photoshop Elements or RSE or DPP to process the RAW or JPG shots. I export in sRGB and do not allow the printer to Color Manage (I use Windows, BTW) If I send to a lab, I do not use any ICC profiles, as I cannot soft proof, so I let the lab use their profiles. My monitor is calibrated using a Pantone Heuy (I know, not as sophisticated as a Spyder, but what I see on the screen matches what I shot, so I'm happy with it.
Now. I will be using LR exclusively for processing my photos. What should I set my camera to? I can use AdobeRGB or sRGB. I realize that LR uses ProPhoto, so I'm not sure where my shooting choice adds or subtracts from the equationand I'm still not sure what settings to print in. I can easily try to let LR translate or manage my file when sending to my home printer. How should I prepare a photo for sending to a lab?
What should I shoot in?
Should I do anything to the LR color space I work in?
What should I do, in regards to color space for printing?
Thaks,
Steven (the confused)

Thanks, Ian. For some unknown reason, I had some time ago set up my user name as one of my e-mail addies, and then when I became active on the LR forums, was too occupied to deal with it, until I learned it was easier than pie. And much easier than pi. 3.414x, no?
I'm leaving in an altered non-robotical-vulnerable format for a bit, so that those that knew me as the E-mail address, or McPhotoman in the beta forum can either listen to what I say, or avoid my postings.... Cheers.

What Color Space to Set in Nikon Camera

Nikon cameras alllow the user to set the colorspace into the camera. There are a lot of choices. A few of them have the letters RGB included in the name.
Which color space should an Aperture user select?
(I mostly shoot in ambient light. And sometimes use flashes in a softbox. Photos are seldom printed.)

William Lloyd wrote:
I don't know of a single camera that shows a RAW-based histogram on the LCD.
Me too.
William Lloyd wrote:
It's true that histogram blinkies _may_ not indicate an area of the photo that is unrecoverable. Still, if I'm shooting and I get blinky highlights I'll re-shoot if I can, because you're so close to the edge that it's hit-or-miss.
I use Sony FF bodies almost exclusively. I'm learned to judge from the blinkies and their relationship to the scene what they mean for blown pixels. The Sony FF histograms (and they seem to be equal in this regard, even for very different cameras {e.g.: a850 and RX1R}) seem to give at least 2/3 of a stop cushion in the highlights. In practice, if there are no blinkies at the highlight end, I can increase the exposure at least 1/3 and often 2/3 of a stop without ending up with blown pixels in the converted-from-RAW file. So I usually aim for at some blinkies -- the exception being where the highlights are broad and significantly lighter than the rest of the scene.
In fine, on my Sony cameras, the blinkies are not actually "close to the edge". Rather they are on the grass on the other side of the pedestrian walkway that itself is still inside the caution rope.

PSE 10 as external editor for Aperture 3 - 8-bit TIFF and what color space?

Hi all,
I'm taking the plunge and trying PSE 10 as my external editor for Aperture 3. I understand that I need to export as 8-bit TIFF files (not 16) because PSE can't do certain things with 16-bit files. Is that right? Should I specify a color space in Aperture or leave it as "no profile selected"? (I don't know much about color spaces; I'm not a pro.) I print on an Epson RX580 Stylus Photo printer, if that matters.
I'll be grateful for any help and advice. Thanks.

Can I suggest you buy Philip Andrews book, Advanced Photoshop Elements 10. he explains colour spaces and much much more very clearly and exactly what can be done with 16 bit files and what you then have to change to 8 bit to accomplish. He's written basic and advanced guides for Elements since day one. Usually available from Amazon for under £20.

What Color Space to choose for viewing jpegs on a monitor

After reading many webpages and watching many tutorial videos about which color space to use, I get odd results. I understand that sRGB is more for web applications, and that Adobe RGB 1998 has a wider gamut, and that ProPhoto has the widest gamut of colors, particularly helpful with printing.
However, in LR 4, when I export to jpeg as sRGB, Adobe RGB, and ProPhoto, the differences are very noticeable. sRGB looks the most vibrant, Adobe RGB looks flat, and ProPhoto looks dark with a greenish cast. I expected ProPhoto to look best, or is that only for printing, and I have to process differently?
What am I misunderstanding here? TIA.

It depends on three factors:
1. The monitor - normal, which means with a gamut close to sRGB, or "wide gamut" with a gamut that approaches Adobe RGB (and today there are plenty of medium priced "wide gamut" monitors).
2. The viewing application and whether it is color managed. In a nutshell, color management translates the image color numbers to eqivalent color numbers in the monitor's color space.
3. Whether the monitor is calibrated and profiled. In order for color management to work properly the application must know what the image's color space is (embedded profile) and what the monitor's space is (monitor profile). Any display on the monitor is always in the monitor space, but in order for the display to be accurate the translation must be made.
If all three conditions are fulfilled, alll images, no matter what their spaces are, will be displayed more or less the same because they have all been translated to the same display space. I say "more or less" because if the image is in a wide space that needs to be compressed to fit in the monitor space, there may be slight differences in the way colors that are out-of-gamut for the monitor are rendered, but the differences are slight.
Without those three factors, only images in the space closest to your monitor's native space will be properly displayed. So if you have a "normal" monitor, choose sRGB and if you have a "wide gamut" monitor, go with Adobe RGB, but keep in mind that other people with "normal" monitors and without color managed browsers/viewers will not see it properly.

What color spaces/profiles are used?

I can’t find any information on the color
spaces/profiles/tags used for the Kuler color conversions.... can
someone please help?
Thanks

The ICC-profiles should be selectable.
They should always show up behind the RGB and CMYK entries.
Also the used CMM should be selectable and documented on
screen.
A colortransformation without knowing about these conditions
is worthlessly.
There should be a information whether the created color fits
the RGB- or CMYK-Profile-Color-space or was cropped (by the
rendering intent).
It would be nice if kuler would be allowed by the user of
that website to use the actuell CS3-Colorsetup (selected on the
users computer).
If a color theme is stored and published, all this should be
documented with that theme.
Thanks

What color space is it?

I soft proofed in sRGB in LR4 to be printed in SRGB, mistakenly exported in RGB, sent files over the web (which I assume get converted to sRGB over the internet) to where they are to be printed in sRGB. Do I need to go back to step 2 and export out of Lightroom 4 with sRGB? Have I lost something in all the conversions from sRGB to RGB to sRGB?

There is a misunderstanding: Images on webpages are often / mostly in sRGB color space. But that is so because the images are put on the internet in sRGB - the internet does no conversion. Wether you send a file by e-mail, or by FTP transfer, the image file will arrive at its destination with the color space the sender has embedded.
You do not loose anything by exporting a file. Exporting in Lr means creating a copy of the image file with the Lr edits written into the pixels, and at the size and with the color space you specify. But the exported image is a copy; your original does not change at all.
I wouldn't worry too much about the color space for the file you are sending to the printer, unless you know for sure that they will honor the color space you embedded.
Most printers don't and just print sRGB.

What does a camera add to a Raw file to make a finished Jpeg version?

I've used Lightroom 4 for a while now but have only ever used Jpegs, and mostly using just the basics panel and curves. I want to try developing Raw files now too.
I was wondering, compared to a Raw file what extra steps does the camera add to make a Jpeg file of the same image, essential steps that you would consider doing yourself to a Raw file in Lightroom too?
I'm aware of Noise reduction, but am a little unsure about the rest.
Many thanks.

Pbeck1 wrote:
my original question I feel is still partly unanswered, and that is: For a beginner to Raw editing, is there some sliders that should always be checked &/or adjusted without fail (even if you decide that no adjustment is needed).
Answer:
* white balance is critical, so it should always be considered on every photo, even if no adjustment required.
* make sure you set camera profile according to taste (and after you gain experience, you may want to roll your own).
* set lens corrections by default: CA + profile (I use a percentage of 100 for vignette correction by default, depending on lens).
* fixed default for Lr color noise reduction (Lr default is usually fine). (color noise reduction is auto-adaptive, so you really don't need to set based on ISO, although you may need to up it on some photos to get all color noise, or down it on some photos to eek out max detail.
* luminance noise reduction and sharpening should be set (initially) based on ISO range.
Then adjust the basics. If toning can't be perfected with basics, supplement with tone curve, if still some imperfect areas, touch up with locals. Use HSL if need be, and so on and so forth.
Fair enough?
PS - I consider a default of 30 for luminance noise reduction to be *extremely* high. I start at zero for low ISO shots, and ramp it up to 25 for highest ISO shots. But consider that Lr's sharpening detail slider should only be used at lower ISOs (that's just my opinion/taste - ymmv). I set detail at 20 for lowest ISO shots, and ramp it down to zero for high ISO shots (as a default - I sometimes up it or down it afterwards). If sharpening detail is kept low, you won't need so much Lum. NR.
Notes:
* color noise reduction detail matters very little except at highest ISOs, in which case you can up it to eek out more detail, usually at the expense of more noise (so it needs to be balanced with amount).
* likewise luminance NR contrast has only a very subtle effect at highest ISOs, and can pretty-much be ignored unless you are really wringing out the detail.
* luminance noise reduction detail however can be important for not losing hard-won detail in the interest of noise control - consider uping it if you need to preserve detail in birds feathers or stone... - crank it down if you just want it clean - detail not important..
What else you need to know?
To summarize:
===========
Lens corrections are a necessity in most cases, and you need to figure out how you like NR & Sharpening set by default. Camera profile determines the general look and feel of the photo and as such can be considered setting #1 (white balance is also setting #1 - yep: there are two #1s ;-}).
Many photos can then be adjusted satisfactorily just using the basic sliders. What's needed after that, really depends on the photo, and you...
Final thoughts are about sharpen masking. I used it a lot in the beginning, then noticed yucky artifacts / sparkling stuff scattered about..., and stopped using it entirely for years. It's undesirable side-effects are most noticeable when sharpening detail is up (and/or sharpening amount). Moral of the story, if you keep sharpening detail (and/or sharpening amount) down, you can also use sharpen masking to keep from sharpening noise in "sky" and "skin", as another way to keep from needing so much lum. NR. Anyway, I'm using it again now, albeit very judiciously. Tip: press Alt key when adjusting sharpen mask slider.
Put another way: sharpen masking masks (disables) sharpening in some places, but not others. Whether the transitions between masked regions and adjacent unmasked regions looks like hell or not depends on how much noise is being sharpened in the unmasked regions, since it's not being sharpened at all in the masked regions. Unfortunately, the situation can not be improved by increasing global noise reduction, since that makes the masked regions smoother too (as well as the unmasked regions).
Bottom-line (imo): If low-noise is the priority over sharpening, then keep sharpening amount and detail low and use masking. If sharpening is a priority over over noise, then leave masking off and crank up sharpening til heart's content. If both sharpening and noise are priorities, there is no choice but to sharpen and/or noise reduce via locals, since using sharpen masking in conjunction with high sharpening (detail and/or amount) on a noisy (or even semi-noisy) photo, looks like cr@p (yes: that's just my opinion), regardless of global lum. NR setting.
PS - Some people use sharpen masking with sharpening detail (and/or sharpening amount) up too and don't know what the heck I'm talking about - YMMV...
Although I use zero sharpen masking by default, some people use light sharpen masking in default settings, and some people use heavy sharpen masking as default. Worth considering how much of it you tend to like...
UPDATE:
~~~~~~~
Settings you usually don't have to mess with, as a beginner: and why.
* Camera calibration color sliders: white balance suffices.
* Effects: most are "advanced" / optional (although you may want to explore post-crop vignette amount as your first foray).
* Lens corrections: you need chromatic aberration at a minimum, and some profile-based correction by default is usually good, but the rest are "advanced".
* Detail (covered above).
* Split toning: "advanced".
* HSL: "intermediate".
* Tone Curve: consider using the parametric curve sliders, if you are beginner; point curve & channel curves are advanced; moving the parametric range-changing doo-hickeys: let's call that "advanced" too.
* Locals and such can be considered not for begginers, but they will need to be used too at some point for optimal results. I mean, even beginners need to get the red-eye out sometimes, or kill dust spots... And you can get by without gradients or paint for a while, but not for long...
Have fun,
Rob

What color space is shown first in RAW files?

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