Ponticino Bridge in Pavia Italy

Here a picture that is problematic with blue led light, taken with a Fuji XM-1 (xtrans sensor, 16-50mm profiled lens with ca correction that should be in lensfun)

DSCF5452.RAF (24.6 MB)

This file is licensed Creative Commons, By-Attribution, Share-Alike.

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My try with ART:

DSCF5452.RAF.arp (11.3 KB)


Oh, blue LED spots, can’t resist… :crazy_face:

I have a Fuji SSF camera profile laying around, for a X-T30. Using the oh-so-coarse assumption that recent cameras from a manufacturer are using similar if not identical Bayer filtration, I used it to develop this image in rawproc. That, and a standard Duiker filmic curve, 'ere y’go:


ponticino.bridge.pavia.pp3 (17.4 KB) RawTherapee 5.8 Development.


Fuji uses xtrans :wink:

Oops, sorry, shoulda known that, the rawproc proof default mosaic was x_trans-fast…

Edit: Isn’t “Bayer” to mosaics equivalent to “Frigidair” for refrigerators?" :laughing:

Not all Fujifilm cameras are based on x-trans: the X-A*, X-T*00, XF-10 and X-100 are based on bayer arrays. Same for the GFX line.

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Interesting edition with led lights. Thanks for sharing.
With the clue about the color profile given to us by Glenn (Fuji X-T30) and considering that under the bridge the bulbs are Tungsten for White Balance, this edition comes out:

20211110_DSCF5452.jpg.out.pp3 (14.9 KB)



Thank you everyone, really nice results!

But i think i’m missing something… what is the Fuji SSF camera profile or the one given to us by Glenn?

For now i have studied the @sguyader one and he has done a great work with channel mixer and hSl.

I’ll try with rawproc and rt5.8 dev too as soon as i’ll be able to install them.

The most similar to reality as far as i can tell is the @Jade_NL one.


Your specific camera type isn’t supported out-of-the-box (the X-M1). These lighting conditions (the blue led lights) do need a colour profile that matches your camera otherwise you need to go through al sort of hoops and trouble to fix this specific issue. Having SSF specific data and having turned that into a colour profile for your X-M1 would help tremendously. I’m all but sure you don’t have that info :grinning_face_with_smiling_eyes: But…

ART and RawTherapee come with the same set of camera/type specific DCP profiles (assuming you use Linux: ART_DIR/dcpprofiles). After I noticed your camera type isn’t among them I experimented a bit with the available FUJIFILM profiles (Color tab → Colour Management → input profile → Custom. Select one of the fuji dcp profiles).

You do need to try out the Tone curve, Base Table and Look table settings as well as the Highlight reconstruction (Exposure tab) settings. RawTherapee gives you the possibility to (un)check Clip out of gamut colours, this option is not available in ART as far as I know.

In the end I used these (RT) settings for the above image as a starting point for my edit:

  • Clip out-of-gamut colours → checked
  • High light reconstruction → on → Colour Propagation
  • Highlight compression → 86 (this setting depends on other factors as well)
  • Input profile → FUJUFILM X100S.dcp
    • interpolated
    • Tone curve → checked
    • Base table → unchecked
    • Look table → checked

EDIT: Just in case they aren’t on your machine, here’s a zip with all the available fujifilm dcp profiles I have: dcpprofiles.zip (11.2 MB)

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Actually, the reported model in the raw EXIF is X-M1. I just made a rash assumption that recent Fuji cameras use similar filters in their mosaic. I base this assumption on studying SSF data from other cameras; measured SSF in recent Nikon and Canon cameras shows remarkable similarity within the brand. Some time ago, I posted SSF plots from the OpenFlimTools dataset, and I’ve used this page a lot recently to illustrate the assumption:


Compare the Nikon and Canon plots. BTW, yesterday I added ICC LUT profiles for all the cameras on this page to my ssf-data collection:


I’m gradually going to post ICC profiles for all the SSF data I’ve collected for which I can’t resolve a license - I’ve determined that I can post derivative work, so I’ll go with that.


Difficult photo to “develop” :slight_smile:
Here is my version:

Have fun!
Claes in Lund, Sweden

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So, I used a SSF profile from another Fuji camera, and it did a transition of the extreme blue shades without significantly altering the hue - I just spent some time toggling back and forth between the X-T30 matrix profile and the X-M1 SSF profile, and this is specifically the case. I’ve done similar with my Nikon cameras; D7000 profiles work just fine with the Z 6, and vice versa.

I wouldn’t go so far as to discount the value of camera-specific profiles, but I think this points out the fundamental nature of camera profiling - It’s not an exact science. The color scientists call the 3x3 camera data “compromise matrices” for that reason. And, that mapping of out-of-gamut colors to something our displays can handle is not based on some notion of scientific accuracy, it’s about “scooching” values around to give the illusion that the display can render the scene like we saw it.


I made a gif to illustrate the transition:


The colorspace tool in the toolchain is selected, and we’re toggling back and forth from the X-M1 matrix profile to the X-T30 SSF LUT profile. Pay particular attention to the deepest blues in the spotlight illuminations - to my just-about-sRGB screen, the matrix makes them all one shade, the SSF LUT gives them a pleasing gradation.

The matrix math just isn’t smart enough to do anything other than deposit the out-of-gamut colors just inside the sRGB gamut. The LUT, however, was built with enough information from the SSF data to make a nice gradation. This is adjustable when the profile is made, so it’s not a mathematically absolute thing.

Yeah, I’m not that busy right now… :laughing:


This shows most prominent with these troublesome colours, doesn’t it. A lot of changing and massaging needs to be done on top of the default camera profile that the editor applies out-of-the-box.

One of the reasons I like to apply a specific dcp profile. Also hoping that it comes with some possible options (like a tone curve, base table and/or lut).

I achieved a similar result by changing the default applied input profile with a more suitable one and tweaking the options. Here’s the progression from default to what I ended up using (took a bit longer to figure this out while I edited it yesterday, though):

Kinda cool that you are able to build/tune these yourself based on the available SSF data!


dcamprof is my BFF here…

To be fair, I’ve built, but I haven’t done any tuning yet.

Edit: cool; your gradations are desaturating nicely to white; mine skew to cyan. troy_s has pointed that out to me, but I haven’t really dug into it.

Thnaks. I took some tips from a recent post by @agriggio.

See @ggbutcher’s posts, starting with

You can do quite a bit with the dcp files in the DCP profile editor as well…don’t think it runs on Linux though…but you can certainly target color and saturation…