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Archive 2017 · Color space and exporting

  
 
CFitchett
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p.1 #1 · p.1 #1 · Color space and exporting


HELP! I cannot figure this out and it's driving me nuts!
WHY when I transfer my images from Lightroom to photoshop cc, the image color changes Looks like it saturates. When I'm done editing the image in photoshop cc and try to save to my computer it desaturates and the color is completely different! I am beyond frustrated trying to figure this out. Both color space are at adobeRGB which is apparently reccomended for both. TIA



Jul 07, 2017 at 05:21 PM
GoodEgg
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p.1 #2 · p.1 #2 · Color space and exporting


What have you set in LR -- Apply During Import>Develop Settings?


Jul 07, 2017 at 05:57 PM
tonyespofoto
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p.1 #3 · p.1 #3 · Color space and exporting


First of all, I'm no expert, so this answer may be wrong. I'm pretty sure the native color space of LR and ACR is ProfotoRGB. So when you are in LR or ACR, you are looking at images displayed in a ProfotoRGB space. However, you did not mention your monitor calibration. Essentially, you are viewing that ProfotoRGB space through the monitor calibrator's eye. Your monitor calibration must be correct and accurate. I can't speak for LR, but in ACR, there are 2 places where you can set the profile of the image you are exporting. If you don't set your profile and bit depth in both places, your exported image will not appear as you would wish. Next, in PS, be sure that your working space is correctly chosen. Go to edit>color settings to set your working space. Lastly, be sure that you do not have some form of soft proofing inadvertently turned on. Go to View>Proof Setup > custom and View>Proof Colors. These are the most common places where a setting can cause the problem you are experiencing. I hope this helps.


Jul 07, 2017 at 06:13 PM
CFitchett
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p.1 #4 · p.1 #4 · Color space and exporting


Ahh I see... thank you so much for your reply and help! Now that you mention monitor calibration, I believe my monitor may need to be calibrated. How do I do this?


Jul 07, 2017 at 06:35 PM
Bob Kane
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p.1 #5 · p.1 #5 · Color space and exporting


tonyespofoto wrote:
First of all, I'm no expert, so this answer may be wrong. I'm pretty sure the native color space of LR and ACR is ProfotoRGB. So when you are in LR or ACR, you are looking at images displayed in a ProfotoRGB space. However, you did not mention your monitor calibration. Essentially, you are viewing that ProfotoRGB space through the monitor calibrator's eye. Your monitor calibration must be correct and accurate. I can't speak for LR, but in ACR, there are 2 places where you can set the profile of the image you are exporting. If you don't set your
...Show more

LR has its own color space (Melissa?) using the Prophoto color coordinates but with a lower gamma value. I have never seen a huge color shift going from LR to Photoshop, and since the LR color space is deep-bit, banding has never been an issue, either. However, my experience is limited: I do all my RAW processing using ACR from Bridge and only use LR for cataloging. As an aside, I frequently write PDFs and find color and contrast better using the output module n Bridge than the files produced using LR.



Jul 09, 2017 at 08:11 PM
Peter Figen
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p.1 #6 · p.1 #6 · Color space and exporting


Even if your monitor has not been calibrated, it shouldn't make a difference because you're viewing your images on the same screen in the different applications. What you're describing is quite unusual because both Lr and Ps are fully color managed and aware of embedded profiles in the files. Is it at all possible that when you're working on the images in Ps that you're somehow saving them with no profile embedded? It is possible to do this but most people never do. Or, is it possible that you're using Save For Web and just stripping all the metadata out of the file. Either of those scenarios could cause your problems. The third is a much longer shot - where you are inadvertently using the Assign Profile command and assigning the wrong profile. Some screen shots of your exact workflow would help in setting you straight.


Jul 09, 2017 at 08:23 PM
leethecam
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p.1 #7 · p.1 #7 · Color space and exporting


Lightroom and Photoshop don't always play nicely together and there can be discrepancies after exporting.

A way to minimise this is to ensure you are viewing your images in LR appropriately.

I work entirely in sRGB, (let's not get into the discussions of which gamut is best), and so I need to soft proof or view my images in LR as if they were sRGB.

LR by default will show your images using a ProPhoto gamut. This is wider than any monitor or printer can handle, and whilst it is great for data manipulation, it's a bit useless for actually judging the image.

So for me, working in sRGB throughout my whole LR / PS process, I choose to view as if they were sRGB in LR.

In LR, you can choose to click the soft proof button at the bottom of the screen and then choose which profile (and conversion method) in the top right hand part of the screen in the "soft proofing" tab.

Or you can go to preferences > external editor and select your preferred profile there. (There are two editing sections, I forget which, so I've got mine set to sRGB in both).

Interestingly, in the "Soft Proofing" option, you can also choose the background "paper" brightness by right clicking in the area just outside the image.

I end up using both methods, as it is easy to forget to set soft proofing but I like the option of choosing the background brightness.

When it comes to Photoshop, ensure that you've set your desired colourspace in the settings, and ensure PS warns you if an image is being imported without or with a difference colourspace. (Make sure you always embed a colourspace when exporting from LR and PS or it's all going to go south.)

People often forget that converting from a larger gamut to a smaller gamut usually requires a choice in the method of conversion. For example, perceptual and relative can give different results, as can colourmetic and absolute. When printing, some of these methods bring into question the requirement for "black point compensation," when using the additional bit of fun that is printer profiling.

For me, I always choose perceptual conversion for any gamut conversions as I prefer the more natural and gentler approach, with black point compensation "on" and perceptual in my workflow for printing.

With all this of course it is essential that you have your monitor calibrated accurately. Of course, no end of calibration will help if you've not set up your initial workflow to allow everything to talk to each other properly.

Once you get your head around it, it is all very simple really and you wonder what all the fuss was about.



Jul 11, 2017 at 04:18 AM





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