Color space of internal processing of Lightroom - CIELAB (1976)?

Similar Questions

• Tags of the color space can be identified in Lightroom 3?

  I'm looking for an easy way to check if a color space tag is associated with a specific (for example an imported JPEG) images in the library Module.  Anyone know?  I can't seem to find a line that in the view of metadata.

  LR does not show this information, he correctly interprets an ICC profile embedded import, but therefore the photo is in internal LR color space.

  Use a third-party utility (ExifTool, etc.) to search for the color space tag and/or the embedded ICC profile.

  Gossweiler beat

  Switzerland

• When Lightroom does not display color space?

  When Lightroom does not display color space is assigned to an image? It should be in the metadata Panel. In Bridge, it displays color Mode: RGB/B & W and color space: sRGB/Gray Gamma 2.2. Or Lightroom all converted Adobe RGB or ProPhoto RGB?

  The ExifMeta plugin (free) will show the color profile in the metadata Panel.

• Lightroom, Nik plugins and color spaces

  I'm having a problem and do not know who is holding the smoking gun.  I have the ultimate collection of Nik installed covering Lightroom and Photoshop CS5 extended. I mainly work in Lightroom and apply to most of the corrections in the world, but sometimes I need to make localized settings, the picture gets boarded to Photoshop.  Here's a typical scenario:

  (1) from Lightroom edit in Dfine 2.0 for the noise - like copy with Lightroom adjustments that is copied to the tiff format.

  (2) to Lightroom edit Viveza 2 - under the original name since we are now working with a tiff file and I don't want a copy for each thing I do.

  3) edit in Photoshop

  Now there are two questions at this stage:

  (1) the changes appear not in the history of Lightroom - it's as if nothing happened.

  (2) Photoshop will complain that the assigned profile is sRGB.  Really?

  #1 is a PITA because if I go back I have to start all over again because there is no history - which is exactly responbsible to set a tool for editing as history?  Lightroom or the plugin?

  #2 is by far the most serious because it degrades the work in a manner seriously bad.  I mean, WTH - I'm moving along in the ProPhoto NET space and all of a sudden - * boom *-I'm running moped sRGB mode.

  I looked at the edit-> Preferences-> editing external-> additional External Editor and indeed the default for plugins when I select the Nik plugins in combo box preferences is sRGB.  I can change the ProPhoto and leave.  I repeated for each plugin, assuming that somewhere the setting has been selected.  Nope LR silent acts as a rock and watch sRGB as the default values for all except the currently selected plugin.

  So my questions are:

  -who's going to own up to the problem - LR or Nik?

  -How can I work around it?

  -How can I make LR remember the settings?  Not a key of registry or INI file in order to set them - so where and how the plugins are followed?

  Thanks for any help!

  Jon

  Jon,

  The User Interface for the evolution of publishers how external are called is about as smart as your average piece of granite.

  After you change the color space to the one you want, you must click on the preset box and choose "Save current settings as new preset...". ». Not really intuitive, but you're there.

  HAL

• PIXMA Pro 100 color space issues

  Hello

  I have a few questions related to printing from lightroom, I'm new on this bare with me.

  (1) I have a canon 7 d I shoot in Raw 12-14 bit? and most of my treatment is done in lightroom, so no need to export to photoshop, however if I would be this export as 16-bit tiff or Jpeg? So, if I had to after post-processing in photoshop then back in lightroom, this would allow only me to print in tiff or jpeg format is correct as a psd/jpeg file?

  (2) given that I only edit in lightroom I can print directly in Raw CR2 format 12-14 bit using canon plugin pro printing studio? or is it exported to the translator as a 16-bit file? and then use the ICC profile that is (canon paper) for best results paper mill, I lose a quality of colour printing by printing from Raw 12-14 bits instead of 16-bit tiff/jpeg.

  (3) using the profiles of ICC paper mill, the original raw will deposit 12-14 bit sRGB 7Dcamera be translated to the printer default Lightroom or is the color space is not necessary because I have not converted to 16-bit in post processing?

  (3) I did not have my calibrated monitor yet but intend to do so in the future, but until then I'm not messing around with pro, photoRGB Pro or Adobe RGB or sRGB mode.

  (4) if I use lightrooms canon pro printing studio Player is the color space translated automatically the settings of my camera or do I have to activate it in lightroom first?.

  (5) I use a Mac running yosemite 10.10 and to learn more about ICC profiles where the factory ICC profiles download how and where to store can you recommend a joint Web site to learn how to do this on a mac?

  (6) as you can see I want to just print the best images from the camera to the printer without much science involved but I'm willing to learn, but get confused with the post-production of workspace different menu software for best results, that I'd do it prosume until I get my proffesionally calibrated monitor would print from Raw with the factory ICC profiles?

  7) color space and calibration of the parameters are all about what you have on the print screen or it is mainly for the depth of extra color to print?

  I can calibrate my monitor on adobe RGB and have my camera shoot on adobe RGB-calibration with the software, but said I need correct color surveillance devices? If I were to do this and still just used paper ICC profiles the footprints would be better?

  My first impressions were excellent, very similar to what I see on the screen in all cases but I checked the lightrooms settings and these are on Pro photo RGB for external editing and it of color space for printing pluggin also studio, or is it just native Raw sRGB if I change the settings it says I'll lose the color space maxium potential.

  Sorry for the influx of questions :-)

  Thomas

  Hahnemühle has an excellent explanation on downloading and adding profiles for PC and Mac

  http://www.Hahnemuehle.com/en/digital-FineArt/ICC-profiles/installing-profiles.html

  Print Studio Pro is rather obscure on the use of profiles than those installed, but it's pretty simple.

  In the area of setting printer settings choosing fine arts I or II (I used one and it seems to work)

  Then in the color management box, use the pull down to find the right profile added.

  (I posted this before, but the post was deleted for some unknown reason)

  

• How to select color space in LR3

  Completely new to digital (from the wet darkroom).  Use only LR3 and so cab to develop my RAW files.  I read LR3 book Kelby and Adobe Lightroom 3 - FAQ missing but need to know how to choose color to view space and process photos in LR3.  I guess his sRBG but there should not be a way of defining color space Adobe RGB or ProPhoto if I want to?

  I just printed on an Epson Stylus Pro 3880 a calibrated monitor and the photos look darker.  I want to make that my color space on LR3 is sRBG before printing again.

  The color space in LR is Melissa RGB, which is ProPhoto RGB with the same curve of gamma than sRGB.  It cannot be changed.

  I just started to use a 3880 after years of use of an HP B9180 and I do not print dark.  There are many on this forum who use the 3880 without no problem, some since it was introduced.  I'm sure they have more experience with the printer I have - I got mine for less than a week.  They can be in a better position to help you with your dark prints.

  I calibrate my iMac with ColorEyes Display Pro and a Spyder 3 washer.  I printed using LR manages the color using the Epson profile appropriate for the paper I use.  I can't tell any difference, visually, in shades of colour between my screen and my impression when I want the impression to 90 degrees to my monitor that lets in the light of the room to fall on printing.

• Projection of images and the question of the color space

  We are having a discussion in our photo club. We use a projector to project the images of the competition. For years, we used Faststone Viewer to project images. We have the usual problems of people not calibrate their monitors and sometimes the colors match does not, but it worked pretty well.  Now that the people who handle the projection are competent in LR, they use LR on a Windows laptop, to organize and display the images via the projector. The projector is a projector of sRGB VGA.  Some argue that LR will cause problems because it uses the Adobe RGB color space as the space of display colors. (We know that the native color space is ProPhoto). Others think it will display images in space sRGB color to the projector as you can when you export an image. I can't find anything in Adobe help pages on this subject.

  Here is a contribution to the debate to give you an idea of what some people are talking about:

  I understand that LR will send bits of images (in the Adobe RGB color space) to the Windows API and in turn the bits are returned on the LCD screen and exit VGA via LCD/VGA color profiles associated. That is my understanding of the viewer FastStone sends the image bits being without modification in the color space. LR sends the bits altered the Adobe RGB color space. Assuming that both programs require the same Windows API, the images must return the same, but they do not. My conclusion is that the former is in sRGB and the latter in Adobe RGB. I guess they call the same APIs because you can open a jpeg file in Windows Picture Viewer (applet in Win7) and see a different rendering of FastStone, it does not use the color managed API.

  Anyone who can shed some light on this delicate subject?

  You actually want an app like Lightroom or Bridge to view images on your projector and not the unmanaged faststone Viewer or something like. Lightroom translated correctly the image on the destination for the projector profile regardless of the original color of images space. It is best to calibrate them and profile projector in addition to your monitor. Some of the highest fine adjustment washers support projectors too. It is rare that these projectors really are sRGB. They are usually somewhat narrower. Some of the more recent are wider gamut when using LEDs or lasers instead of bulbs.

• Why I can't see color space: "Camera RGB" in first?

  Hello!

  I'm putting the hand on Davinci + first cc 2015 workflow. First of all, I'm trying to get my physical look less roughly the same on both - to start!

  Here's what I think looks good on Davinci Resolve:

  https://DL.dropboxusercontent.com/u/...2012.10.36.PNG

  Color space is: "Camera RGB.

  Support people to Davinci just told me that this same color space SHOULD be available on the first too! I just do not see it in my choice on first! The closest I can get is by using RedColor2:

  https://DL.dropboxusercontent.com/u/...2019.02.22.PNG

  But the idea of using davinci resolve + first cc 2015 is to synchronize together if I don't want that kind of speculation here. What is the problem, why don't I see it first? Is - this cos I didn't shoot my hardware with the best setting in my mx - a Redcode28 red but not the 36?

  Yours,

  Pekka Varis

  Finland

  First of all. nice camera... would like to have this puppy!

  Next... How you plan to run your workflow? Change with the original media to 'lock' in PrPro then PrPro a final result to use at will... or use a proxy change the PrPro process, then make a XML and conform to the original in the desire to export media?

  There are reasons to do both ways... the first makes it much easier to move from PrPro to solve, BUT... When you work with RAW images (as you seem to be?), you leave a few possibilities of classification behind it. Those minor, but for a perfectionist, which is 'minor', right? Also, the gradation of transitions is a pain when they are flattened.

  The second process... Support proxy in PrPro, then an XML outside PrPro, in the determination and consistent support for the rank of origin, is the one used for more critical work. For this workflow you would use the Red programs or Adobe Media Encoder to transcode to a codec that you use only for your edit within PrPro, all clips named exactly the same except for the extensions as the original media. You then import that into PrPro to your editing process, Editor, and once completed, create the XML file to resolve.

  Resolve, import the XML file, use its process for media conclusion / in line, do your rankings.

  In the second process, it makes no difference if PrPro sees things a little different, since it will have no effect on Resolve work with support of origin on the ranking.

  Checked with a colourist on this in the past, he prefers. His answer, one 7, 5 on the other (playing off the coast of the expression "six of one, half one dozen of the other")... because it depends on. Some of his works is ads, with 20 pieces (which many with short transitions) in a 30-second commercial. With the customer sitting on the couch, I look by degrees he get ALL those returning some transitions quite perfectly "mixed" is a total PITA bread... at this time, it is easier to have his assistant sign & are conform to the project and work a chronology that is not flat, then it can classify each element separately and transitions are not affected by the process of dimming.

  On some of the documentaries he worked with shots longer, most of the cuts are simple "cuts" and there are relatively few transitions, it may be easier and less work total to take just the flattened file exported out of PrPro and beginning of work. If someone made a good record of 10 - bit in PrPro to use at will, he can do pretty much whatever he wants and is not concerned with no longer have the "raw" data to work with.

  In both cases, your original question is moot. If you transcode to change in PrPro, re-compliant of classification with the support of origin in the will, it is not a problem PrPro doing with space color compared to what the determination. If you edit in PrPro and use the right settings preserve your data during both the edit & export, then Resolve can still do what you want, you will always be able to see.

  Neil

• Choose a color space in LR CC

  There was once an option to choose/set color in Lightroom with the choice of ProRGB, Adobe RGB, sRGB space as there are PS/Bridge. As I have used Adobe RGB as baseline - camera photo/computer and lab - it's a serious problem, given the develop module in LR using Pro RGB, which does not translate to Photoshop at all without color changes.

  And given that there is no parameter to define a color space "for the moment" by the remarks on the LR FAQ, is there a time for when this critical element will be available?

  Common questions asked about color in Lightroom CC

  pjoye wrote:

  I have white balance adjustments in the LR library and fine tuned develop them. I refined with a cool filter in PS, but when I saw their new in LR, they do not have the same appearance.

  That could happen if you have a preset in the import or the auto tone in Lightroom.

  Other than that, any difference between Lightroom and Photoshop indicates a broken monitor profile.

  ProPhotoRGB has nothing to do with it. You are looking in the wrong place.

• The lucky CMYK color space

  Is it possible to change the color space to CMYK, RGB colors.  In the desire to create an image to a CMYK with an area of 24 "x 16" print.

  Thank you

  Joe

  Lightroom can export CMYK files, you will need to convert to CMYK in Photoshop.

  If the printing is done on an inkjet printer, note that most inkjet must be fed of RGB files, even if they use CMYK inks.

• Change how ACR interprets color space for raw images

  When you browse the raw (CR2) photos with the OS X finder, I love the way color is represented, it corresponds very closely to the camera in preview. However, Bridge/ACR/Lr all interpret the color space of files differently good raw, and I wonder if there is a way to put these programs according how OS X finder restores raw images.

  Color space isn't the issue.  I think what you see with OS X finder is the embedded jpg file has been generated by the camera and saved in the RAW file for viewing, and it should look identical to the jpg of the camera.  The adobes in Camera RAW and Lightroom RAW converter uses the Adobe Standard profile of the camera as the default profile to the camera to generate an RGB from the RAW data image and you can save the image as a jpg, tif, etc. with any colorspace you select (sRGB, ProPhoto RGB, etc.).

  Adobe has generated camera profiles for Canon, Nikon and a few other cameras that are a good match for the profiles used by the camera to generate an RGB image.  You will find them on the camera Calibration tab (as suggested in the post above) and they have names like camera XXXXX, XXXXX is the same name as that used in the camera.  Select one with the same name XXXXX that you selected in the camera and you should get a much better game.  You can also change the default profile to the camera at one of them, as suggested in the post above, and then the RAW image will open the first time using this profile instead of the Adobe Standard profile.  If you always use the same profile in the camera, this will solve your problem.  If you use different profiles of the camera in the camera photo then you will need to manually change in Camera RAW and Lightroom to one corresponding used in the camera because the RAW converter does not read what profile you selected in the camera.

• Find the Document color space & find samples that contain the content of the text block.

  Hello world

  I tried to figure this out for the last three days. I've tried everything I can think and search all over the internet (GitHub, Forums, etc.). I'm not a javascript Wizard, and certainly a Newb Extendscript.

  Try to determine the color space of the document. Last attempt was...

  alert(theDoc.properties.ColorSpace);
  

  Reminder on this:

  I have a datamerge which creates the attached fields from a CSV file. It is an internal reference to a color code. I am able to test cycle using the for loop an enter the color code. But I can't seem to find a way to seek the shades. One thought was to put in a table and sift through them. The color code provided is not swatch set name that makes things interesting. For example, name is 2297R - 19995, where 2297r is the color code for the text frame. Possible?

  main();
  // this is the function
  function main(){
  // setup some variables
  var theDoc = app.activeDocument; // active doc
  var thePage = theDoc.pages.item(0); // first page
  var theSwatches = theDoc.swatches;
  var list_of_swatches = theDoc.swatches.everyItem().getElements();
  var n = theDoc.swatches.length;
  var color;
  var rgbValues;
  var i;
  var     t;
  
  
  //Get all groups for this document:
  var theGroups = theDoc.groups;
  var theLayers = theDoc.layers;
  
  
  // Color Codes
  var primaryColor = thePage.textFrames.item("Primary Color Code"); 
  var secondayColor = thePage.textFrames.item("Secondary Color Code"); 
  var accentColor = thePage.textFrames.item("Accent Color Code"); 
  var matchGarmentColor = thePage.textFrames.item("Match to Garment Color Code"); 
  var lightTonalColor = thePage.textFrames.item("Light Tonal Color Code"); 
  var darkTonalColor = thePage.textFrames.item("Dark Tonal Color Code"); 
  var neutralColor = thePage.textFrames.item("Neutral Color Code"); 
  var greenColor = thePage.textFrames.item("Green Color Code"); 
  
  
  
  // Code Codes
  var primaryColorCode        =   primaryColor.contents;
  // var secondaryColorCode      =   secondaryColor.contents;
  // var accentColorCode         =   accentColor.contents;
  // var matchGarmentColorCode   =   matchGarmentColor.contents;
  // var lightTonalColorCode     =   lightTonalColor.contents;
  // var darkTonalColorCode      =   darkTonalColor.contents;
  // var neutralColorCode        =   neutralColor.contents;
  // var greenColorCode          =   greenColor.contents;
  

  Help or advice is greatly appreciated.

  Thank you.

  Hello

  ... There is a third source eventually:

  -content of the 'PartOfName' examination if there are spaces inside - in this case the search() method returns "-1"thus."

  (i.e. warning (PartOfName.length) ==> is it == 5?)

  Jarek

• Question of color space

  I imported a jpg created in photoshop with sRGB embedded profile (via save for Web), but when I soft proof on Lightroom sRGB profile I see out of gamut colors. Lightroom does something with the color space imported?

  This is a bug. CAB, LR and Photoshop. Of course he didn't show no OOG colors but should not. Ignore it. In fact, the OOG overlay previous Photoshop 5 with real test is not at all useful.

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

  I have a lot of files Tiff 16-bit in my Lightroom library.  I'm looking for a simple 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.  Lightroom has a way to tell me?  This seems like a pretty basic capacity for high level like Lightroom photo software, but I can't.  File Tiff still has numbers RGB of origin who had the RAW file, or have been changed as a result of the color space used?  If the original numbers are still there, so maybe that the assigned color space is not serious, and I can change it if I want to? I'm using Lightroom 5.5 on a windows 7 64 system.

  In Lr5 - Yes, well: sorta...

  No display on the right metadata, or in lib filters, but smart collections have rule - see 'color-> color Source profile. Unfortunately, one must know ahead what to look for, but still: it's better than nothing...

  For example:

  

  Rounds to the top of all the photos with the Adobe RGB profile.

  And you can have another with "contains the sRGB..."

  ~ R.

• How will I know what color space is assigned?

  How will I know what color space has been assigned to an image imported into lightroom.  I think that sRGB is affected when it was edited in Photoshop and saved in TIFF format, but how can I check that in Lightroom?

  Blue II Baron wrote:

  I have LR5.3 on a Windows 7 computer.  Bob, I do not see the options that only show you in my list of smart collection.

  Here's what I do to create a smart collection Group (name correctly):