My technique has evolved since then, so I processed the photo again starting with the Camera Faithful profile. The result is a colorful, saturated photo.
This color profile, on Canon cameras, gives saturated reds and good contrast. I took it with an EOS 5D Mark II, and set the Profile to Camera Standard in Lightroom. So, how much of a difference does the Profile setting make to your processing? Consider this photo, taken in China at the end of 2011. Profile and processing choices in the Lightroom Develop Module These profiles are created by Adobe to emulate the effect of selecting that color profile and using the JPEG format on your camera. Now all your camera’s color profiles should appear in the Profile menu, although any black and white modes may not be there. It simply wasn’t that important as you couldn’t change the Profile (the color sliders accompanying the Profile selection are intended for advanced users). The idea is that the same scene photographed by different cameras will look the same once the Adobe Standard setting is applied (assuming that other color settings like White Balance are also identical).Įarlier versions of Lightroom only had Adobe Standard as a Profile choice, which perhaps explains why the Camera Calibration panel is placed at the bottom of the stack. The top profile in the menu is Adobe Standard, a profile made by Adobe specifically for your camera based on extensive testing using color charts. When you process a Raw file, Lightroom lets you select a Profile in the Calibration panel. Most other manufacturers use variations of these names, and may have some additional options. Most of these are fairly self-explanatory. The Picture Styles available on a Canon EOS camera are Standard, Landscape, Portrait, Faithful, Neutral and Monochrome. Camera ProfilesĮvery manufacturer gives this feature a different name, listed here.
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Then camera manufacturers started building color profiles into their cameras and software so that you could pick the most appropriate one. You could adjust the colors if you looked deep enough into the menu system but it wasn’t straightforward. The ability to match film to subject was an essential skill, and many photographers experimented with a variety of film types until they found the ones that suited the way they worked.Įarly digital cameras had primitive color controls and the result was that every photo looked the same.
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But if you were shooting portraits, the color of Velvia was totally unsuitable, so you would use a slide or color negative film that rendered color more subtly and was designed to make skin look good. Many landscape photographers, for example, used Fuji’s Velvia slide film because of its fine grain, high contrast and saturated colors. Back then, color treatment was largely determined by the film stock used.
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