The real problem with doing HDR’s well is the fact that just a few years ago, their were only a few decent programs available, and those were hard to use without getting these unwanted “trippy” looking results or bad image artifacts as a result of the HDR processing and “tonemapping”. Fast forward to 2010 and 2011 when HDR started to get mainstream attention from software companies with new apps like Nik HDR EFEX Pro, Oloneo PhotoEngine and HDRengine and even Adobe added HDR functionality within Photoshop. Not to mention dozens of other, smaller software companies making HDR apps such as my friends at Ohnaware HDRtist among some of the older, established apps like Photomatix Pro from HDRsoft. All of which I have used, most I own and all I highly recommend for different reasons.

I just want to make a single “raw” file with more dynamic range than any one exposure could otherwise do in-camera.

With that said, any HDR program has either limited controls to simplify the process for “new” to “average” photographers to doing HDR images. While the other half have advanced controls, but may be difficult to learn or understand. I’ve been using Photomatix Pro for as long as I can remember and I still don’t understand what every slider and control does to the final image. (Though they’ve come a long way in making it easier to use in recent versions.) But in reality, what I’ve wanted for as long as I’ve used any HDR processing program is the ability to “process” the image just like I would process any camera RAW file format in Lightroom, Aperture or Adobe Camera RAW. After all, I just want to make a single “raw” file with more dynamic range than any one exposure could otherwise do in-camera.

LR4.1 32bit HDR Before & After Processing

Enter Lightroom 4, or more specifically, version 4.1 which is currently (at the time of this article) only available from Adobe Labs website as a “release candidate” as Lightroom 4.1 rc2. This is a fully functional Lightroom (though I believe does still require a valid software license to install and use it) but has several new features added that were not initially included at release. One feature is new advanced color “defringing” controls which I feel is a vast improvement over the old sliders. The other feature is the ability for Lightroom to process 32bit image files. While it may work with 32bit PSD or other HDR specialty formats, I’ve created my base 32bit files in TIFF format from within Photoshop CS5 (using the process shown in the video) and find that it works perfectly good this way.

As much as I enjoy using the array of HDR applications for various “look and feel” that each gives me, I’ve found that I can do everything I could have ever wanted with my 32bit TIFF image from within Lightroom. I can essentially process it just like any other camera RAW file, but with far more dynamic range and even improved detail over any single exposure. On top of that, I don’t get the unwanted halo’s, increased noise (in some cases I had reduced noise) or other odd and unwanted image artifacts that most if not all of the other HDR programs can have. And because I am very adept in Lightroom, I find it completely fits in with the remainder of my image processing workflow without jumping from program to program any more than necessary. In fact, I only needed Lightroom 4.1 and Photoshop CS5 to do any of the work. (I’ve found that versions of Photoshop as early as CS2 have the Merge to HDR function, although earlier versions may not work as well as CS4+ for this purpose.)

In any case, I’ve created a detailed video on how to do this yourself using only Lightroom 4.1 and Photoshop to create the necessary 32bit TIFF files and how to process them in Lightroom and export them back into Photoshop for any further edits you may like to do.

As usual, all of my videos are in HD so for the best quality I recommend watching them full-screen in 720p.

Needless to say, that is what this video tutorial is about. Although it’s not my very best work, I felt it was a worthy image and I was working on it already since I captured this image just the night before.

On to the video!

As I mentioned before, I LOVE to do HDR captures and find that I can really push the limits of “reality”, sometimes I prefer to push the limits of a single exposure to get the most realistic image possible without any chance of getting a “fake” look out of it. (Even with the best HDR software and techniques, sometimes it’s difficult to make a realistic end result.)

As always, for the best quality watch in full-screen 720p HD mode.

Everyone has their own personal preference on what is “good color”. Some people prefer warmer skin tones and overall deeper, richer colors. (This is my own personal preference.) While others may prefer cooler skin tones with little or no yellow or red cast or low contrast bright images or very over saturated color or who knows! This is why learning to correct your color to your preference is ideal as nobody but yourself can get the color exactly how you want it and save a few dollars on lab fees for color correction.

Then again, some people wouldn’t know what good color is if it hit them in the head. Let’s be honest…. If that person is you, you can read on but you are probably better off sending your files to the lab as-is. Bad corrections can sometimes be more damaging than sending files with poor color straight out of the camera.

What it takes to correct color:

Although I don’t want to discriminate, if you have a color vision deficiency or otherwise poor color perception, doing your own color corrections is probably a bad idea. If you cannot see the “whole picture”, your adjustments may be more damaging than they do good. The good news is, if you have poor color perception but no actual color blindness, you can still use a reference image as a target to “aim” your color corrections towards. And to be honest, most if not all professional color technicians in labs use a “Lab Standard” image to help correct for skin tones and to aid in making consistent color from image to image and order to order. Don’t be ashamed to keep an image on your desktop as a reference and load it for comparisons as necessary. (For what it’s worth, I have several reference images I use for different types of skin tones and for black & white files.)

Skintone Reference Example

So you’re not sure where your color perception falls? Check out my post “How well do you see color?” which includes a link to an online version of the Farnsworth-Munsell 100 Hue Test hosted by X-Rite. However, the online test is somewhat flawed that it cannot be properly administered within the standard time limits under calibrated lighting like the physical FM100 test. And it doesn’t take into consideration monitor accuracy either. But it is a good starting point and you would likely score similar when taking a properly administered test. (I’ve taken both the actual proctored test and the online version of the test and have scored perfect in both but feel that the actual test is much better though more difficult.)

Now that we have that covered, we can get to color correction…. Or can we? Lets not forget about the monitor. Your monitors calibration is as critical if not more critical than your own color perception. After all, if you have perfect color perception but your monitors calibration is considerably wrong, you may not know this and could be making the color worse or making other unnecessary corrections to the images. I’ve covered this multiple times in the past and can’t stress enough how important it is to properly calibrate your display using a high quality device and software. (I personally own a ColorMunki and a Spyder 3 but prefer the Spyder 3 with ColorEyes Display Pro software which is sold separately.)

Moving on, assuming we have perfect color vision and a perfect color calibrated monitor, let’s get correcting color.

First off, in order to properly correct for color we need to have the correct exposure. However in the digital world, due to limitations of current imaging sensors and to give myself a little extra headroom for bright highlights and details, I do tend to expose about 1/3 to 1/2 stop low when working with mixed or uncontrolled light. (In the studio I have more control over light and the speed of things so I will generally meter and expose properly.) This helps save any chance of blowing out detail that can not otherwise be recovered. (Such as details on a wedding dress.) However in comparison, it is SIMPLE to bring the exposure back to “normal” with processing and still retain those highlight details. Just remember to correct for your exposure BEFORE making any corrections for color. This applies both if you shoot in RAW or JPEG and regardless of which software you prefer to use. You cannot properly judge color if the image is too light or too dark. Just a thought…

An example of blown out skintones. This cannot be recovered.

As of right now I prefer to do the majority of my file processing in Adobe Lightroom since I can quickly access, compare and easily copy and paste corrections between batches of files. Since I work primarily in camera raw, I can make a considerable amount of adjustments within Lightroom to that raw data with no risk of permanent changes to the images. (All of your corrections in Lightroom can be undone.) However, a good raw work flow starts at the camera. Starting with a custom white balance is ideal for getting good color captured to begin with, but it also makes for less headaches down the line as the color will remain more consistent from image to image compared to using an auto white balance mode. If you can’t make a custom white balance, you can switch the white balance to a preset that matches the conditions you are working in to get more consistent color that way as well. And still in camera, getting a proper exposure is critical to good color as well but I will cover that a little more later.

Once my files are in Lightroom, I will decide which custom camera profiles I want to apply to which images, typically either as a whole for the session or in batches depending on the images and what conditions they were captured under. This is of course optional and would only apply if you have a custom camera profile or have downloaded camera profiles that you wish to use to emulate built-in camera modes. Personally, I prefer making my own profiles which I find always look considerably better than the default profiles and can compensate for even the worst lighting conditions. Read more about making camera profiles in “Color Checker Passport does EXTREME color correction”.

Now I will quickly skip through my images and decide if any need any major adjustments to exposure or not. Ideally I had the exposure dialed in during the session so the images should already be consistent but I will try to even out any stray frames that are under or over exposed. I want the images all properly exposed and adjusted to my preference before I move on. One trick you can use with the Exposure slider in Lightroom is to show the clipping by holding down the Option key (on Mac) or Alt key (on PC) and this will help you visualize what areas of the image may have blown out highlights due to overexposure. This trick also works with the Recovery slider (areas of overexposure) as well as the Blacks slider (clipped shadows).

This “show clipping” feature indicates where and what colors are being “clipped” or maxed causing less detail and possibly color artifacts to be present in those areas. Ideally we want to keep maximum RGB values under 240 (about 95% in Lightroom) but sometimes that isn’t possible. This also varies by color space since the RGB value 255,0,0 in sRGB is only 219,0,0 in AdobeRGB and to really be confusing it maps to 179,70,26 in ProPhotoRGB. *HUH?* Yep, but we’ll cover that some other time. Right now I just want good color regardless of which color space I am using. This Option/Alt key trick can also be done in Photoshop when adjusting the shadow and highlight sliders in Curves and Levels.

The next step in Lightroom would be to either load a shot with my white balance target or Color Checker Passport and double-check my white balance (or fix it assuming it wasn’t set correctly to begin with). This should neutralize the image for the most part. However this neutral image may now look to sterile and boring. So after I copy those settings to a few images, I will often manually adjust the white balance slightly warmer. (Using my skin tone reference image to help me guide the skin tones to a natural level overall.) Naturally this will vary depending on your personal preference and the image itself. For example, you may want to warm up wedding photos or a portrait but it would be better to leave product photography very neutral and more true color.

With the camera profiles applied, exposure now correct and white balance tweaked to preference, I will either tweak the curves to increase contrast or adjust the Blacks slider control. Again paying attention not to blow out any highlights or darken the shadows in areas I may want detail still. And lastly I may decide to add some Vibrance or Saturation beyond my default import settings but using both in moderation as too much can result in blown out skin tones that are difficult to fix later. Remember, when working in Lightroom, very bright and vivid colors can often go out of gamut once files are saved in a smaller color space (such as sRGB) for printing at your lab.

And lets not forget the Adjustment Brush. Probably my favorite and most used tool in Lightroom. Once you learn to use the adjustment brush properly, it let you work wonders on images. Watch some of my Lightroom videos at YouTube ModifiedPhoto YouTube Channel for more tips on how to use the adjustment brush to its potential.

Personally, I find color correction in Lightroom to be very quick and easy since I can tweak one image in detail and apply it to many in only a few steps. This makes getting consistency between images very simple and it is much easier and faster to process the camera raw files in batches than it is to process JPEG or TIFF files one at a time in Photoshop. However, for those occasions…. Read on.

In Photoshop, we have a number of tools for adjusting the image including Curves, Levels, Color Balance, Brightness/Contrast and Hue/Saturation among other less used tools (Shadow/Highlight and Exposure). Of those listed, I tend to use Curves and Levels the most for adjusting the density or “exposure” of the image and Color Balance and sometimes Curves for adjusting the COLOR the most. And of course if I need to add saturation I might touch the Hue/Saturation sliders but I have other methods to boost color that I like better depending on the image and subject matter. (See “Richer Color Without Saturation” for details and a video on the technique.)

A quick overview of the “tools”:

Each has its own advantages so everyone should learn how to use all of the tools provided to get the best out of our images. I prefer using Curves to boost contrast as I can easily dial in just the right amount of highlights, mid tones and shadows and if I wish, I can use the layer mask to vary those edits across the image. And remember earlier the trick in Lightroom with the Option/Alt key? It works the same in Curves when adjusting the black or white point sliders. (Or you can also turn on clipping with the “Show Clipping” check box.) Also the nice thing with curves is the fact that by not moving the end points, the highlights and shadows can remain “locked” in place so you are not clipping colors like you can when using Levels. Another trick with Curves is by moving the cursor over the image with the Curves window open, you can hold the Command key (Mac) or Control key (PC) and click a spot on the image. This will add a control point on the curve that directly corresponds to the RGB value clicked in the image. (This really helps if you want to target a specific color range to adjust or lock down.) I do sometimes use Curves to adjust color but keep in mind the adjustments are VERY SENSITIVE and even the slightest tweak to the curve can result in very strong changes to the color overall. Tip: You can use the arrow keys to move a selected control point around in Curves with a lot more accuracy and control.

Now on to Levels. Again, we can use the Option/Alt key trick when moving the black or white point sliders around to check for clipping. This is important as you don’t want to lose color detail in skin tones, otherwise you may end up with a really messed up file and your prints will suffer the consequences. As with Curves, I use Levels mostly for adjusting density and less for tweaking color. Although I do sometimes use the dropper tools in Levels, I find they often result in very bad changes to photographs. They do work nice when I want to quickly clean up a scanned document however. (I rarely use them and don’t advise using them unless someone knows of some other secret trick to make them dance around and do awesome things.)

And now to the my favorite adjustment and probably the least used by most people: Color Balance. Honestly, I rarely see people properly utilizing these controls, probably due to a lack of understanding of how they work. Basically the sliders are Cyan/Red, Magenta/Green and Yellow/Blue. The reason they are paired up like this is because the colors Red and Cyan offset each other. For example, if your image appears to have a red cast, you can increase the cyan level and it will neutralize some of that red color. And if your image seems too blue, you add yellow to compensate. Although these colors don’t appear to be directly across on a color wheel, trust me, this is how it works and that is all we need to know. Needless to say, it takes some time to get used to the Color Balance sliders but once you do, it makes perfect sense and you can quickly and easily compensate for bad color by eye.

I highly suggest learning to use Color Balance for corrections.

What about the Brightness/Contrast and Hue/Saturation controls? Clearly these are self-explanatory but other than for a small boost in saturation or for other creative effects, I don’t use these controls as often as the Curves, Levels or Color Balance. But that doesn’t make them any less useful. Clearly some of my personal favorite “duotone” actions use the Hue/Saturation adjustment layers specifically for the colorize option.

Hey, lets not forget about Layer Masks!! Again, probably one of my most used tricks in Photoshop is the Layer Mask. I can easily make quick overall corrections to an image using Adjustment Layers or make targeted corrections by adding a Layer Mask to hide or reveal just the areas that I want the adjustments to apply corrections to. For example, a color cast on what should be a white wedding dress. No problem, add a Hue/Saturation Adjustment Layer, turn down the saturation 30-50% or until the dress now looks more neutral and white (but not gray… so don’t turn the saturation all the way down) and then using the Layer Mask for that Adjustment Layer, fill it with black to hide everything and then paint in white to reveal only the areas of the dress you want the lowered saturation. Merge down and then save. This should take only seconds to perform spot color corrections to fix problem areas that your lab cannot correct for. (Without paying a retouching fee.)

Get on with it!

Alright, here is where the fun starts… Again, we need to correct for the exposure before touching any color sliders. Remember, proper density (exposure) is KEY to good color. This is a good reason to get the exposure correct in the camera to begin with. Needless to say, that doesn’t always happen and even if it meters right, sometimes the image may still need a little boost on the screen. And as I mentioned earlier, I tend to under expose slightly on purpose to save highlights. It is possible to reasonably recover images 2 to 3 stops underexposed but just a half stop overexposed and bright details as well as skin tones may be lost and are difficult if not impossible to be recovered.

Checking the histogram is a good way to verify exposure but it is also confusing and often leads us to believe the exposure is good (or bad) when it is not. So here is a trick I recommend to check exposure on skin tones in portraits, but this can be applied to any object in any image. The “Facemask Histogram” technique isn’t my own to claim but I do utilize it now and then to double-check my exposure in tricky files. Read more about the Facemask Histogram in “Histograms lie, unless…”

Using Curves or Levels, I will enable clipping or hold the Option/Alt key and bring the shadow slider up until I start to show clipping and then check. If I’m not losing details that I want to keep, I may continue to increase the slider until the point I want black to nearly black starts to clip and then back it off a bit. Then I repeat the same with the white point slider with special attention to skin tones. If red or yellow clipping warning starts to show up anywhere on the skin, bring the slider back about 5 or 10 points or else the skin tones will begin to discolor and lose detail. You can adjust the mid tones to preference. Obviously everyone has their own preference on color and some people like a deeper, richer looking image while others want a lighter, less contrasty look. Depending on how you treat the middle slider (Levels) or the middle of the curve (Curves) will result in a different “feel” to the image. Of course if you want less contrast you can back off the black and white point sliders as well and edit to taste.

Depending on how bad the exposure of the image is to begin with, I may need to boost the brightness more still which I prefer doing in Curves. I will bring one or two points up in the middle making sure that they form a smooth curve still. In an extreme case of exposure problems I may even resort to using the Shadow/Highlight controls (Image > Adjustments > Shadow/Highlight) This takes a little experimenting to get used to the controls (if using the advanced controls), otherwise you can just adjust the basic controls to help bring back some of the details before moving on.

Adding MORE color to BAD color just makes MORE BAD color.

Now our exposure should be better and the image should have more life. If it has too much contrast, you can tone down the corrections you just made by using the Fade command (Edit > Fade), lowering the opacity of the adjustment layer or by adjusting the sliders again slightly. (This is where working with adjustment layers is ideal.) So on to color. First mistake most people make is to go straight to Hue/Saturation and dial that baby up to +45 or so. Now I can’t say that may not be necessary at times but adding MORE color to BAD color just makes MORE BAD color. And just about nothing is worse than way over saturated “bad” color.

So instead add a Color Balance layer and experiment. If you scroll back up a few lines you might re-read the sentence regarding how it works and then take a look at your image and ask yourself what you see. In the “Before” example image below, I see a cyan/yellow tint overall causing the image to look dingy and bland. If the color cast isn’t obvious at first, try looking at the parts of the image you know should be neutral or close to neutral. I know that the white tutu should be very bright blueish-white and that the wall is a slightly off-white. Once I identify the color cast, I can now adjust accordingly. I know that adding blue with the Color Balance sliders will offset yellow and adding red will offset cyan. This is where having a good reference image comes in handy. You can load the reference and make comparisons side by side. The reference should be something that fits YOUR personal preference for color and know that this image (density and color) prints come out to your liking and standards. Then make further adjustments as necessary to tweak the color to resemble the reference image.

Color Corrections – Before & After (Click Image for larger view)

You can also use Curves or Levels to adjust color but I find that I can usually get the color to the point I am happy with it by using only the Color Balance controls. If I just need to make a quick overall correction, I may change to a specific color channel and adjust the curve slightly but I find that fine tuning the color to be more difficult with Curves and Levels.

In the “After” example, I added a Curves layer to tweak both the density and contrast. I then tweaked the color using the Color Balance sliders. I added another Curves layer to slightly brighten up her face only by using a layer mask. And a third Curves layer to make an overall correction to the color of the wood floor which was picking up a slightly stronger color cast from the fluorescent overhead lights, again using a layer mask to only adjust the areas I wanted. Overall the corrections took less than one minute including the extra corrections to the face and floor.

Now that we have the exposure and color tweaked and the image now looks good and natural, this is where we can start to get creative. Remember, use adjustment layers with layer masks to do spot corrections such as fixing an odd color cast on a wedding dress or correcting for bright or dark spots in the lawn on a family portrait and so on. BUT I don’t even begin retouching an image until the above steps are done and I save adding saturation for last as bringing out the CORRECT color, density and contrast will often result in more saturation naturally and I won’t need to as much if any in the end. Once we are satisfied with all of the above corrections, it’s time to merge layers. You can go ahead and flatten the adjustment layers used and save the file out as you normally would.

As I have said, I find that I can get a better correction quicker working in Lightroom but I do often take an image into Photoshop for making spot color corrections and for other creative effects. Or when someone brings me an old photo or poor quality file to correct, I will typically do those corrections in Photoshop on layers to selectively correct areas of the image. In the end, learning to use the controls and having a good reference image handy can make all the difference between good and bad color.

Lets review:

1. Good color STARTS in-camera by using a custom white balance or by properly selecting a white balance mode. And by capturing images with proper exposure.
2. Build and use a custom camera profile. (Buy a ColorChecker Passport and read my blog for tips on how to use it, it’s worth the time and money!)
3. Calibrate your monitor. A bad calibration can cause you to make unnecessary changes.
4. Use a reference image to help adjust skin tones correctly.
5. Learn to use the tools in Lightroom and Photoshop to get the best color out of the image.

Hey! What about the video? I didn’t read all that. I just scrolled down to see the video!

Alright, here they are. Due to limitations of the length of video uploads to Facebook, I have split it into a Lightroom segment and a Photoshop segment. Please watch both as both will cover the tips and tricks necessary to correct color effectively in each program. Also don’t forget all of my videos are in HD so please click to watch in full screen and switch playback to HD mode for the best quality.

The new controls feature several new sliders for noise reduction. The Luminance slider is now paired up with a Detail and Contrast slider. The combination of these can help bring back or enhance details that may otherwise be filtered as luminance noise and smoothed. And the Color slider is also paired with a Detail slider with the same type of control as above except for chroma noise.

They have also moved the lens correction sliders to their own control panel for lens vignette and chromatic aberration correction. And another set of controls for the new film grain effect sliders and post crop vignettes.

But since this post is about the new Lightroom 3 noise reduction, I felt it was necessary to toss a worst case scenario file in and see what I could get out of it. In this case, I started with a shot taken with a Nikon D300 at ISO2000 but the image was also underexposed by 1.3 f-stop (corrected in Lightroom) and I also brushed another 1 f-stop of adjustment brush just on her face to brighten it up further. So with a combine correction of over 2 stops, the file could be as bad as one shot about ISO 8000 in areas. (And at least ISO 4000 overall.)

I first attempted to process the file in Lightroom 2 (LR 2.6) and adjusted the file the best I could using the included noise reduction controls. The noise reduction in Lightroom 2 was still not very good so I exported the file to Photoshop where I attempted to further correct it with Neat Image and Noiseware Pro, both with only “ok” results. (I also exported it without LR2 noise reduction to try and allow the noise reduction software to do its best but still had only “ok” results.) Then I sent the NEF (Nikon camera raw) file to Lightroom 3 Beta 2 to try the new noise reduction controls out. And here are those results with and without noise reduction enabled.

LR3 Noise Reduction Off (Click image for larger view)

LR3 Noise Reduction On (Click image for larger view)

I think it is safe to say that the noise reduction controls in Lightroom 3 will be some of the best at correcting for high ISO noise and in the case of underexposure quite well. By far better than LR2 and now even better than the dedicated noise reduction software. Needless to say, I plan on running some of my older D70 raw files through LR3 to see what sort of results I can get out of those.

Edit: Added Lightroom 2.6 processed file (same file, same settings, same noise reduction) for visual comparison.

For comparison, I processed the file in Lightroom 2, exported as a 16bit TIFF into Photoshop and ran professional “stand alone” noise reduction plug-in software with the best settings I could get within a reasonable amount of time. (about 5-10 minutes each)

Here is the Neat Image results using custom camera noise profiles:

And considerably better but still lacking detail compared to Lightroom 3 is Noiseware Professional:

Click through for the full details.

* Improved performance throughout the application for faster importing and loading of images
* Native tethered shooting support for select Nikon and Canon DSLR cameras
* Luminance noise reduction has been added to the previous color noise reduction improvements available in the first public beta for outstanding overall high ISO quality
* Support for importing and managing video files from DSLR cameras for better overall photographic workflow control
* Improvements to the import experience in the first beta to reflect public feedback
* Improved watermarking functionality from the first beta to reflect public feedback

Lightroom 3 beta 2 builds on the enhancements introduced in the first Lightroom 3 beta release:

* Brand new performance architecture, building for the future of growing image libraries
* State-of-the-art noise reduction to help you perfect your high ISO shots
* Watermarking tool that helps you customize and protect your images with ease
* Portable sharable slideshows with audio—designed to give you more flexibility and impact on how you choose to share your images, you can now save and export your slideshows as videos and include audio
* Flexible customizable print package creation so your print package layouts are all your own
* Film grain simulation tool for enhancing your images to look as gritty as you want
* New import handling designed to make importing streamlined and easy
* More flexible online publishing options so you can post your images online to certain online photo sharing sites directly from inside Lightroom 3 beta (may require third-party plug-ins)*

Go to the Adobe Labs website and download the free public trial of Lightroom 3 Beta 2.

And a short video from Adobe on the latest updates to Lightroom 3 Beta 2:
http://tv.adobe.com/watch/what-s-new-in-lightroom-3-beta/whats-new-in-lightroom-3-beta-2/

Color Checker Passport – Custom Camera Profile

The color here is simply unacceptable, even with the custom white balance I generated in-camera using the neutral gray target on the X-Rite ColorChecker Passport. (It is VERY bad without the custom white balance.)

To fix this, I exported the camera raw file, in this case it was a Nikon NEF file, from Adobe Lightroom into an Adobe DNG file which is their own “digital negative” raw file format. It retains all of the original raw data as the NEF file but essentially “translates” that into an Adobe friendly format for all of their other software. Once exported as a DNG file, I opened the Adobe DNG Profile Editor and then used the Chart tab to place the colored dots onto the corresponding colored squares on the ColorChecker chart in the image. (Download the Beta version of the Adobe DNG Profile Editor Here.)

Normally, this is all that needs to be done to create a custom camera profile… Except in this case, it gives me an error message instead. That message is telling me that it cannot find the gray squares to set the correct white balance and generate the custom camera profile. So we have to tweak the calibration some in order to get it close enough for the system to take over.

Adobe DNG Profile Editor – Color Matrices Tab

This means we have to switch to the Color Matrices tab and tweak the white balance calibration to get the color closer to neutral before the custom chart can be generated. These sliders allow the white balance to be adjusted outside of the normal range and to tweak each color channel independently. As you can see in the screen capture, I made significant adjustments to the calibration by eye to get the color of the chart closer to the actual colors. We don’t need to make it perfect, just closer to neutral so that the software can properly generate the profile.

Now that we have the color manually adjusted to be within the limits of Adobe camera raw, we can then create the proper color tables for the custom camera profile. Now go back to the Chart tab and it will then automatically create the color tables. Once that is done, simply export the DNG profile (File > Export *camera model* Profile) and it will save that profile into the proper location for Adobe products to find it. Now re-load Lightroom or Photoshop and it will allow you to select the custom camera profile from the drop down menu on the Camera Calibration tab.

With the new camera profile selected, use the white point dropper tool and select the neutral square in the image and it will then correct the color to nearly match the actual color of the ColorChecker Passport target.

ColorChecker Passport – After Custom Camera Profile

Anyone who wants to play along, here is the DNG file used to create the custom profile.
(Right Click: Save Link As) Amber_Street_Lamp.dng (23.3mb Adobe DNG format.)

And for those who prefer to watch my tutorial videos:

Don’t forget to watch the video in Full Screen HD mode for the best quality.

In the video I cover quick color corrections, crop and angle, general corrections to density and exposure as well as spot fixes using the adjustment brush. I also hope to post a little more advanced video soon.

For best quality, click to view in full screen and in High Definition (HD button).

I show the steps to do my eye retouching and enhancing as done in Photoshop, except this time in Adobe Lightroom on a camera raw file in a completely non-destructive way. This may be the future of editing so now is a good time to start practicing! These tips and tricks can be applied to just about any retouching in Lightroom so don’t limit your experimentation to just eyes or simple things. Dig in and see how complex you can go with the tools provided!

Because of the time constraints of YouTube, I decided to do the edits and then go back and explain the steps I took to get to the final image. Editing in Lightroom is somewhat slower and slightly less intuitive still, however I hope with Version 3 just around the corner, perhaps some of the tools will be enhanced to be easier to work with and perhaps add things like pen pressure or better spot retouching tools which will help speed the editing process up some.

For the best video quality, play the video in full screen with HD enabled.