5d mark II color issues - reds too saturated

Make sure that you also have the updated version of the camera profiles for LR, and try one of them and not just the Adobe default one.

I've heard a few complain about too much magenta, and usually it has been due to them not having updated to Lightroom 2.4 and been shooting in sRAW.

Although, some even say that Canons own software do not display this magenta shift (even after updates of Camera Raw, LR, etc), so it's something that happens, but we haven't figured out what it is yet.

bohdank wrote in post #8338225
Good catch.

I wouldnt have thought of that

I am having similar trouble getting reds, and skin tones, just as I like. Although I had a hard time with my 5D1 as well, this must partly be my own skill limits in RAW conversion and PS.

Using ACR or DPP Nuetral goes a long way to giving you a good starting point. For one thing, it noticeably tones down reds and to a slightly lesser extent, yellows....unless you like the bigger than life look to your images which many seem to prefer based on the images I normally see posted here.

Heres a different spin on the subject.
I have spent litterally thousands of dollars on a pro editing monitor and calibration equipment so when I sit down to edit, i know how the images "really" are on final out put. Now thats fine for me. But not everyone else out their on the web will view the outputted image the same way because THEIR monitors are 1)probably not calibrated at all. and 2)set on other settings far away from the standard out of the box settings and 3)are all different models of monitors that show your images on the web in all manner of ways.!!!
So after all the outlay I have made in terms of setting up my color managment systems, I now do all my web editing with my monitor set at defaults and uncalibrated. If I am outputting to print, then I will boot to a secondary hard drive where all my calibration and color managment exists (In a different OS altogether.) For me, I will proop an image for web use differently to that if it were for print and thats how it will have to be for me in the future.

whiteeagle1963 wrote in post #8361179
Heres a different spin on the subject.
I have spent litterally thousands of dollars on a pro editing monitor and calibration equipment so when I sit down to edit, i know how the images "really" are on final out put. Now thats fine for me. But not everyone else out their on the web will view the outputted image the same way because THEIR monitors are 1)probably not calibrated at all. and 2)set on other settings far away from the standard out of the box settings and 3)are all different models of monitors that show your images on the web in all manner of ways.!!!
So after all the outlay I have made in terms of setting up my color managment systems, I now do all my web editing with my monitor set at defaults and uncalibrated. If I am outputting to print, then I will boot to a secondary hard drive where all my calibration and color managment exists (In a different OS altogether.) For me, I will proop an image for web use differently to that if it were for print and thats how it will have to be for me in the future.

Whiteeagle

Your images on your website are stunning and you certainly have nailed the problem; - possibly with a bit of overkill. The fact is that Adobe has already built into its LR/ Camera Raw / Pshop software, a (core) software engine that manages (on the fly) the transition of your original image to the different devices such as monitor/ printer/ web output using the profiles that you have developed. You can have multiple profiles which keep your original image in the colour space it was taken, yet show correctly on whatever media you are using at the time. Mismatches of color space are flagged . By having a calibrated monitor and/or printer you have made the most important moves, but you shouldn't have to have two computers to keep things in check.

Have you looked at the explanations of color management described by Pshop experts such as Martin Evening and Jeff Schewe. JS was one of the team that developed CS4 and they understand how and why the (central) color management engine was designed and how it will perform in the very situations you are keen to manage.
Just my thoughts......

Thank you Luke, you have enlightened me. And thank for taking the time to check out my website

Actually the shots done by my new protege (spelling?) were done in JPG. And as has been guessed, she was shooting in "Portrait" style. In low light environments, the "Portrait" style seems to make flesh tones appear over saturated with red.

As for "whiteeagle1963" comments, I applaud his dedication to the holy grail of color managment. Since I am much older than most of you all, I must pick and choose the subjects that I wish to master as my learning curve is a bit shorter. I will come to this fantastic forum when I need help on the matter of color.

I have since sat down with that photographer and relayed what I have learned here and insisted that in the meantime she have her camera re-calibrated and that she shoot in RAW from this time forward. I only shoot in RAW for the most part as it seemed a natural transition from my film days. I am going to look into using DPP now that it has been recommended.

Opening up RAW files in various programs is a good idea. I think that will be my focus for a while. I am shooting in various London locations in August and will use those pics to apply what I learn.

Thanks again guys for you valued replies