How Camera Raw and various profiles to manage the Transition to overexposure

With all the attention that I had to pay to profiles lately, I've been opening many images with colors vivid blue (where my recent post on trying to get better blue color).

One of the things I noticed is that the transition to overexposure seems to be treated VERY differently depending on the chosen profile.

Of particular interest is an image that I shot recently to a stage where some blue lights shone on the crowd and in the goal of my Canon EOS - 40 d of.  I was surprised how differently the transition towards overexposure is based on the chosen profile.

Not including one of the profiles provided by Adobe manages this transition smoothly at all, showing a few transitions strong - which explains why I had so much trouble with the color of the sky.

Some examples follow (they have all been converted to sRGB for viewing through a browser).  Specifically, note the area around the blue light at the top right.

Adobe Standard profile such that supplied with Camera Raw by Adobe:

AdobeStandardProfileBlueOverexposure.jpg

Camera Standard profile such that supplied with Camera Raw by Adobe:

CameraStandardProfileBlueOverexposure.jpg

Profile of landscape of camera, like that provided with Camera Raw by Adobe:

CameraLandscapeProfileBlueOverexposure.jpg

Very good 40 d profile "sRGB Standard of the DPP" Vit Novak gave me a few days earlier, based on measures of how Canon DPP manages the colors:

VitNovak40DProfileBlueOverexposure.jpg

The format of JPEG in camera:

InCameraJPEGBlueOverexposure.jpg

-Christmas

This change in color when blue/cyan is intentional, also because blown blue colors are rendered around 190 degrees tinted sRGB, so transition should be smooth. But in the case of sRGB profile, it's suddenly somewhere near half of LUT (according to saturation), where the nonlinear values sRGB reached 1, while Adobe RGB, it is much more smooth. Looks like it's cut into sRGB

About highlights and possible appearance of the hard core it's the Canon seems a built-in LUT that extends above the 1 brightness value, in order to cover the sensor output after whitebalancing, where R and B can be greater than 1 (because the R and B channels is less sensitive and they are multiplied with WB R and B multipliers). DNG profiles do not offer this capability - above 1 everything is cut prior to calculation of LUT, so I adjusted the calibration for the different process, but it can not be handled properly. So whatever I do, it won't be the same in this region (and there may be additional logic in the camera). But ACR has recovery slider, which compresses the upper region to fit into the LUT

This topic is quite complex, really

Tags: Adobe Camera Raw

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