Color tint red and yellow

Hi folks,

I have been having problems with exporting my files and change of color.

I have a calibrated monitor and a corresponding ICC file. I do my thing with RAW files and most of the exported JPEGs look good, but some have a strong red tint or a slight yellow tint. It is driving me crazy since I cannot find a reason for it. I check my pictures on windows foto viewer NOT with windows foto app! I also used my wifes Macbook Air but the tint is still there. I recalibrated my Monitor but it did not fix the problem, so I assume something is wrong with my export settings or with DXO pholab itself.

I tried every other ICC file photolab has in stock but to no avail. If i try sRGB (dxo ICC-file), the red tint is completely out of control and with my calibrated ICC it is still there. It is also a lot darker when I upload it to a website but this might be because of my monitor brightness.

I am really frustrated since I bought DXO Photolab so I wouldnt need to use Canons DPP 4 anymore which gave me way better results in terms of correct colors.

Can anyone help me?

Here is a Link to one of the RAW-files, i will add some more later

If you can send us a link to one or two of your problematic raw files, we could then try to reproduce your issue.

Hi,
We (and DxO staff) needs to know which type of camera and examples and probably the source, rawfile.
Could be anything.
1 camera WB custom setting.
2 colorcast from lightsource.
3 colorprofile of mac /pc
4 sensor WB mis calibration of DxO.
Demosiacing error.
Did you run those file’s through an other rawprocessor?

Not sure what you are doing there. But since it is a common misconception, I just want to mention it: the monitor profiles must not be applied to your exported pictures! You should use sRGB for your exported files, especially when you upload them to the web.

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G’day Christian
Check PL4 history, has PL4 applied default preset?
:cowboy_hat_face:

I will load those rawfiles in tomorrow. To see what you ment.
First look in preview dropbox.
Fruit image can be colorcasting made by the cloth above the street.
The other i see the shadow as a late afternoon shot.
What did the Ooc jpeg? If you shot raw plus jpeg?

For this image (Seychellen), I see nothing in particular, except that the white balance of the CR2 file is not correct, probably because of the environment (fabric between natural light and the scene? ).
In PL4, it suffices to choose a neutral gray point with the pipette to have a balanced white balance.

Comparison of the original CR2 and the jpeg PL output in ACDSee (therefore independent of PL and which manages colors).
Self-calibrated Eizo screen.

i agree.
using the colorpicker on the “white plasticbags” it jumps straight in to “correct” color.
video
When i have WB daubt’s i use Silkypix’s auto absolute WB.
see my examples:


AWB AS SHOT

SP Auto absolute wb

copied the numbers into PL4

I think the light is compromised by the reflections of red surface or red sunshades.
(human eye’s are corrected by the brain so you didn’t see this yourself.

The dune’s
i spotted a white checkerboard! did you place that on purpose? :wink:
see this video
did a quick and dirty post processing:


plv4

2019.10.05 5-Sahara Erg Chebbi (51).CR2.dop (54,9 KB)
don’t like the shadows for 100% so maybe less lifting.
i turned down the details in contrast of shadows( a filmpack feature)


better.
2019.10.05 5-Sahara Erg Chebbi (51).CR2.dop (55,0 KB)

Downloaded your images and found that they are nothing to be worried about.

Dunes: I’d use the HSL tool if I wanted to change anything. Maybe shift the sands towards yellow and darken the sky with some extra saturation.

Market: Difficult light which makes the special expression. Better leave it than change it to something that looks correct but empty (without soul/character)

When you say your monitor is calibrated, what software/hardware did you use?

Your monitor brightness should be at no more than 80cd/m².

Looking at your files on Dropbox, they already have a cast, which, presumably, is coming from the embedded preview jpeg; therefore I doubt processing the files is causing it. Rather, you should be looking at your camera’s colour settings.

Talking of which, I just checked the colour temperature in your edited files. The market is at 8055°K, which would make it very warm looking; and the desert is at 5927°K, which would also impart warmth.

I took a virtual copy of both images and then reset them to see what was being read in from the camera.

The temperature on the un-retouched market shot is the original from the camera (8055°K); no wonder it appears too warm. Is your camera on auto white balance?

The temperature on the un-retouched desert shot is 5538°K, which you then warmed up to 5927°K

You think the WB calibration is off?
What is the best way to correct such a problem?

I’ve just edited my reply. From what I can quickly see, the camera may be on auto white balance, but then @Flotschi seems not to be getting the correction right when he is editing.

Whatever the cause, I am certain it is not the fault of PhotoLab

(i meant the camera’s WB calibration not PL’s sorry wasn’t clear enough)

Not as in it’s a flaw a error.
But i am still very fond of those “auto deeplearning WB naturalisation” settings.
Colorcast due reflection and “shine true” is one of the most difficult WB problems to conquer.
a simple wb colorpicker won’t do the trick.

And as most “hobby photographers” i leave the WB on Auto in camera which give me 88% change of a good WB to start with. (i have it not modified)

Silkypix does have that need absolute and natural AWB settings which helps to overcome simple WB mishit’s.

and the “multilight source”:

Citaat:This function automatically distinguishes and adjusts white balance when there are two or more different light source colors within the same image.
Mixed light refers to pictures where there are two or more different light source colors within the same image. For example, you may have a flash photograph while outdoors in the sunlight, causing a mixture of sunlight and the flash, or you may be indoors with light coming from a window, causing a mixture of outdoor and indoor lighting.
“Multi-light source compensation” alleviates part of the light source colors that are unnatural by adjusting the color temperature and color deflection.
You can adjust bias as necessary.

Is also a great feature to finetune difficult WB issue’s

So in that aspect i think there is some work to do in PL’s WB toolset.

OK. Some more information…

Both images have had the DxO Standard preset applied to them, which has done a lot to contribute to the problem. @Flotschi, I recommend you change the default preset in Preferences to the DxO No Corrections preset. Obviously, some of the settings in the Standard preset do not agree with your camera’s settings.

So, I changed both images to the No Corrections preset and then, all I had to do was a couple of minor adjustments on Smart Lighting, Colour Balance and Tone Curve to both and a local increase to Vibrance in the sky on the desert shot.

WB 5600/0

WB 5000/0

And here are the dop files for them both, with just my adjustments

2018.08.10 Seychellen-RAW (46).CR2.dop (12,5 Ko)
2019.10.05 5-Sahara Erg Chebbi (51).CR2.dop (13,1 Ko)

In actual fact, I have found that it is better to always shoot in Daylight (5600°K), then apply a correction to create any mood that I want to add. It’s a bit like shooting on film, where you didn’t get a choice of WB unless you used filters in front of the lens.

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G’day @Flotschi

I agree with Joanna,

with a clarification to be considered with digital photography. For whites to be replicated accurately on your monitor, camera white balance should be set to the white point of your monitor. See: https://www.eizo.com/library/basics/color_temperature_on_an_LCD_monitor
:cowboy_hat_face:

Well I tend to use 5500 on the monitor but always 5600 on the camera. Near enough :stuck_out_tongue_winking_eye:

I read and watched some articals youtube about WB calibration, customised camera setting with a colorchecker and a graychart. This would overcome colorcasting due lightsources artificial and natural.
A bit like that piece of paper in the desert.
When you shoot raw wb calibration isn’t nessacerry as in you can do that in post if you have those checkerboards.

I lean on the algorithm of the camera to have the correct WB. And shoot raw so i can correct in post if i like.
I have to say an not so correct WB doesn’t hurt me feelings so a little off is fine.
The rest is fiddle til your happy.

About that daylight setting is that the same as setting dxo wb in daylight?
It should be right?

Near enough is good enough as you control white balance instead of leaving it to the computer in your camera and/or your monitor.

This is true if you use those checkerboards for each and every shot. I tried and discarded this method of calibrating my camera’s white balance.

I found the following entries the best for my needs (printing):
5500k as white balance in my camera and PL4 with my monitor’s D55 white point for daylight shots.

6500k as white balance in my camera and PL4 with my monitor’s D65 white point for shots in the shade/cloudy.

5000k as white balance in my camera and PL4 with my monitor’s D50 white point for flash/early morning/late afternoon shots.

If you don’t calibrate your monitor, most monitors are set by the factory at D65 (6500K).

@Flotschi may find this helpful in color cast issues.

Inexperienced users may encounter some unintended consequences from following that advice, Joanna - in that they may not realise that they will then need to manually apply “standard” corrections that make use of the Optics Module for the {body+lens} combo that created their image.

An effectively equivalent, but “safer” solution would be to create a customised preset, based on the DxO Standard preset, with only the lens correction settings activated.

John M

Joanna & Greg: What’s the advantage of working this way (rather than using the camera’s Auto-WB ability) - does it not mean that you would then need to adjust for WB in pretty much each and every image ?

(Genuine question; I don’t have much knowledge of this issue).

John M

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