Colin Smith of PhotoshopCafe demonstrates how to make new color profiles for Lightroom and Adobe Camera Raw.

Learn more about new Color Profiles here.

Check out Matt Koslowski’s Q&A on Color Profiles.

Learn more in my digital photography and printing workshops.

Julianne Kost shows the new Profile feature in Lightroom and Camera Raw.

Find more from Julianne Kost here.

Matt Koslowski tells you why he thinks Profile is one of the biggest things in years.

Find more from Matt Koslowski here.

Learn more in my digital photography and printing workshops.


Without Dehaze


Dehaze may create color artifacts


Color artifacts removed

Color without Dehaze blended with luminosity with Dehaze



The top layer is set to a blend mode of Color

When you’re using Lightroom or Camera Raw, you’ll quickly find the Dehaze slider can produce marvelous contrast effects. Dehaze can dramatically exceed the contrast that can be produced with either Curves or Clarity. Sometimes it will reveal detail you couldn’t see with your eyes!

Often, there’s a price to pay for these great effects – color shifts. Neutral areas may turn magenta. Shadows may pick up strong blue or green casts. To make matters worse, these unwanted artifacts are rarely uniform, which makes them harder to fix.

If you’re lucky you can compensate by reducing Saturation after using Dehaze. When you do this, it’s likely that you’ll end up choosing the least objectionable version or making a compromise you’d prefer not to. Frequently, to avoid these side effects, you’ll be tempted to not to push Dehaze as far as you’d like to.

There is a cure that will help you go as far as you’d like, without producing color shifts. Render your image twice. First, render it with as much Dehaze as you’d like. Second, render it without Dehaze.

Then place the version without Dehaze in a layer on top of the version with Dehaze. Change the Blend Mode of the top layer to Color. This will give you a combination of the color of the top layer (without Dehaze’s color artifacts) and the luminosity of the bottom layer (with Dehaze’s contrast).

How do you make two layers from one Raw file?

If you’re using Lightroom, make a virtual copy and then double click on the Dehaze slider. Highlight the original file and the virtual copy and select Photo > Edit In > Open as Layers in Photoshop. Now in Photoshop, make sure to change the top layer’s blend mode from Normal to Color.

If you’re using Camera Raw, open your Raw file as a smart object, then select New Smart Object via Copy in the Layer menu, and finally double click on the top layer to return the Dehaze slider to 0. Remember, change the top layer’s blend mode from Normal to Color.

The technique of using the color of one layer to overlay another layer can be used for many applications. Here, it makes Dehaze even more useful.

Read more on Color Adjustment here.

Learn more in my digital printing and digital photography workshops.


Do you wish you could improve the quality of the images your lenses deliver after exposure? You can, using software. Adobe’s Lens Corrections feature uses a digital image file’s EXIF metadata about camera and lens to automate cures for standard lens distortions, including geometric distortion, chromatic aberration, and vignetting.

Using Adobe’s Lens Profile Corrections

You can access Adobe’s Lens Corrections in three locations; Adobe Camera Raw, Adobe Lightroom, or Photoshop’s Lens Correction filter. It’s far less destructive to make these types of adjustments to Raw files during rather than after conversion. It’s also more flexible as it can be removed or adjusted any time in Lightroom or in Photoshop if you acquire files as a smart objects. However, if you want to apply Lens Corrections within Photoshop, you can use the Lens Correction filter; you can even do this non-destructively by applying it as a smart filter.

In Lightroom and Camera Raw, in the Lens Corrections panel you’ll find two tabs under Lens Corrections; Profile and Manual. Start with Profile and then move to Manual.



Under Profile, you can check Remove Chromatic Aberration to eliminate color fringing on contours; if your lens produces them, and most lenses do to one degree or another, you’ll see them most easily in areas of high contrast and in the corners. Sometimes this feature removes chromatic aberration completely and sometimes only partially. When you need to go further, a not uncommon occurrence when dealing with specular highlights, click on Manual and look under Defringe to access the sampler and modifying sliders Purple Hue and Green Hue.



Also under Profile, you can check Enable Profile Corrections to remove Distortion and Vignetting; both sliders are set to 100 by default, but you can modify these Amounts as you deem necessary. Distortion does an excellent job removing curvature of introduced by wide angle lens distortion often objectionable on horizons but alternately unnoticeable in macro shots. Under Manual, you’ll also find controls for Distortion and Vignetting that do not use metadata and are capable of more aggressive adjustment. While Distortion offers only control to slide between barrel and pincushion distortion, Lens Vignetting offers two sliders, Amount or the intensity of the adjustment, and Midpoint a control designed to affect the way the effect fades off. The anti-vignetting effect is often too strong, making the corners of the image appear too light, and requires some reduction of the default setting; set it to zero if you like the vignetting a lens produces.

Once you’ve verified that a lens profile works well, you can apply the lens profile corrections to all images shot with that camera / lens combination, simply by selecting the files you’d like to apply them to and syncing them. (Select the files in Camera Raw or Lightroom and click Sync, then choose only the settings you’d like to sync.) You can even apply Lens Corrections as part of a Preset that can be applied to any number of selected files with a single click, but be mindful that if you use this Preset during import in Lightroom this may slow the process of building previews somewhat.

Adobe Lens Profile Creator

Adobe provides support for a growing list of camera manufacturers, camera models, and lenses. If you purchase a recently released lens made by a major manufacturer that isn’t yet supported, it’s quite likely that Adobe will soon have a profile for it. You can access new lens profiles in updates of Camera Raw and Lightroom.

If Adobe doesn’t supply a lens profile for your particular lens you have three choices: adjust an existing profile; use a profile created by another user; or make your own custom lens profile.

First, you can visually adjust the parameters of an existing lens profile and save the new settings under a new name for future use. There’s plenty of room for user error with this method but it’s more efficient than creating manual corrections from scratch. Expect to check the results frequently when you apply these settings to different types of images.

Second, you may be able to access a lens profile created by another user with Adobe’s Lens Profile Downloader – Of course, these lens profiles will only be as good as the creators were diligent about creating them.

Third, you can create your own custom lens profile with the free Adobe Lens Profile Creator utility – Adobe Lens Profile Creator is a utility designed for photographers who want to create custom lens profiles for their own lenses. The process of creating a custom lens profile for your lens involves capturing a series of images of a printed checkerboard pattern with your specific camera and lens, converting that set of raw images into Digital Negative (DNG) file format (using the Camera Raw plug-in, Lightroom, or the free Adobe DNG Converter), and importing the raw DNG images (or JPEG/TIFF images when creating lens profiles for a non-raw workflow) into the Adobe Lens Profile Creator to generate a custom lens profile. If you create new lens profiles, you can share them with the rest of the user community on the Adobe Lens Profile Creator forums, publishing them directly from inside the Lens Profile Creator. These profiles will then be available via new versions of the Adobe Lens Profile Downloader. This is an extended and complex process few photographers will want to go through, but for those using unsupported cameras and lenses worth the time and effort in the long run.

This is a detailed discussion of what for most users amounts to checking two check boxes and possibly adjusting two sliders. Using Lens Corrections is fast and easy. In little or no time you’ll get substantially better results. If you’re serious about the quality of your photographs, you’ll seriously consider implementing Adobe’s Lens Profile Corrections.

Read more on Raw processing here.

Learn more in my digital printing and digital photography workshops.


My enews Insights broadcasts today at 3:15 pm EST.

In this issue …

I’m announcing our next Fly Antarctica / Sail Across The Circle Workshop. Participants were thrilled this winter and we can’t wait to go back! Space is limited so reserve yours now! There’s 1 space left in our Greenland Ice Fiords & Auroras Workshop.

Seth Resnick and I have released a new ebook Antarctica / Two Visions. In addition to inspiring you with images of Antarctica, it will give you many insights into how much we’ve influenced each other by working so closely together and yet still remain so different. It’s free for a limited time only!

Three Raw Processing Resources and 21 Recommended Books On Digital Processing will help you make the most of your files.

Find out about photographer Wynn Bullock – a new exhibit, new book, and classic quotes.

Sign up for my enews Collectors Alert and get a one time only 50% print discount.

There’s more … exhibits, lectures, articles, calendars, green actions, etc.


Sign up for Insights enews free here. 

“Julieanne takes a close look at the feature enhancements and refinements made to the Crop tool, workflow settings, and batch saving capabilities in Adobe Camera Raw. In addition she also covers improvements made to the Spot Removal Tool, Noise Reduction, Local Adjustment Brush, and Histogram.”

View more Photshop Videos here.

Learn more in my digital printing and digital photography workshops here.

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