Match Colors Between Any Two Cameras — 188 Camera Profiles for Lightroom
Your colors don’t match.
Two cameras. Same wedding. Same light. You open Lightroom and the skin tones are different. The whites are off. The mood doesn’t agree. So you spend 45 minutes — maybe an hour — dragging sliders, eyeballing it, trying to make two perfectly good cameras agree on what color is.
And the best you get is “close enough.”
This is not a skill problem. This is a tools problem. And it has been unsolved for twenty-five years. Every camera manufacturer ships different color science. Every editing platform stacks generic profiles on top. And you — the photographer — absorb the cost. Every single shoot. Every single gallery.
That ends now.
We fixed them.
188 camera-specific profiles that make every camera you own produce the same color. Install once. Works automatically in Lightroom. Every preset you already use gets better instantly.
Tested against every competitor on earth. Won 551 out of 553 head-to-head comparisons.
GET THE MASTER COLLECTION → or keep scrolling if you need convincingAdobe’s default profiles are broken.
Adobe Standard. Adobe Color. The profiles that come pre-loaded in Lightroom. They are one-size-fits-all. They don’t account for your specific sensor. They don’t account for your specific camera. They treat a $6,000 Leica M11 the same as a $500 crop sensor from 2015.
The result? An average color error of 5.229 ΔE across the fleet. That’s not just detectable — it’s in the “obviously different” range. A median of 5.731. Only 11 out of 188 cameras under the expert-acceptable threshold. 124 cameras over 5.0 ΔE. And Adobe ships this as the default for every photographer on earth.
You read that correctly. We are nearly four times more accurate than what Adobe considers “standard.” And Adobe Color — the one most photographers use — is still 2.6× worse than tEE. Both are in a different universe from us.
CIEDE2000 perceptual ΔE scale — the international standard for measuring color difference (CIE 142:2001)
And this isn’t our marketing math — it’s CIEDE2000 (CIE 142:2001), the international standard for perceptual color difference. Measured. Verified. Repeatable. The same standard used in manufacturing, display calibration, and print verification. Applied to camera profiles for the first time. By us.
How we test. And why you can’t argue with it.
CIEDE2000 (CIE 142:2001). International standard for perceptual color difference. Same standard used in automotive paint, pharmaceutical packaging, display calibration, and print verification. Not ours. The world’s.
16-bit CIELAB. Rendered Lightroom exports. Automated computer vision patch detection. 24-patch X-Rite ColorChecker Classic. D50 reference illumination. No eyedropper. No guessing. No “looks right to me.”
188 cameras. 80,000+ profiles. 400+ iterations. Every camera measured. Every result documented. Every claim on this page repeatable and auditable.
If your current preset maker can’t give you a ΔE number, they didn’t measure. We did.
“But wait — what about [insert popular preset pack]?”
Every competitor. Every default. Every one.
We didn’t cherry-pick. We tested 553 direct camera-to-camera comparisons across 188 cameras and 11 manufacturers. Same cameras. Same source images. Same measurement pipeline. CIEDE2000. No asterisks. No marketing math. No “in our testing” disclaimers.
We tested the profiles and presets photographers actually use. Named brands. Named products. Head to head. Here’s what happened.
The Full Leaderboard
Every profile. Every preset combo. Every camera matching system. Ranked by mean ΔE. Lower is better. Under 2.0 is the expert-acceptable threshold.
| Profile / Preset | Profile | Mean ΔE | Median ΔE | < 2.0 | > 5.0 | Max |
|---|---|---|---|---|---|---|
| #tEE ΔE (alone) | tEE | 1.399 | 1.374 | 179 | 0 | — |
| tEE + Brooks Preset | tEE | 1.524 | 1.176 | 165 | 0 | — |
| tEE + Brooks → Imagen AI | tEE | 2.887 | 2.563 | 54 | 21 | — |
| Goodlight MV1 | Adobe | 3.562 | 3.413 | 26 | 27 | 8.3 |
| Adobe Color | Adobe | 3.648 | 3.481 | 20 | 29 | 9.1 |
| Tec Petaja Portra | Adobe | 4.536 | 3.752 | 26 | 60 | 14.6 |
| DVLOP Jose Villa | DVLOP | 5.169 | 4.989 | 12 | 92 | 11.0 |
| Adobe Standard | Adobe | 5.229 | 5.731 | 11 | 124 | 9.8 |
| KT Merry Fuji 400H | Adobe | 6.887 | 5.249 | 15 | 100 | 18.0 |
Visualized: Mean ΔE by Profile
Lower is better. Under 2.0 ΔE = expert-acceptable. Under 1.0 = imperceptible.
Cameras Under 2.0 ΔE — The Only Metric That Matters
The expert-acceptable threshold is 2.0 ΔE. How many cameras does each profile get under that bar?
179 vs 26. The best non-tEE option gets 26 cameras under the expert threshold. We get 179. That’s not a close race. That’s a forfeit.
Cameras Over 5.0 ΔE — The Shame Chart
Over 5.0 ΔE means your camera’s colors are “obviously different” from the reference. Visible to anyone. Here’s how many cameras each profile pushes into that danger zone:
Zero. That’s our number. Zero cameras over 5.0 ΔE. Adobe Standard puts 124 cameras there. KT Merry puts 100. DVLOP puts 92. The “best” non-tEE option (Goodlight) still puts 27 cameras in the “obviously wrong” zone. We put zero.
The Gap Is Bigger Than Our Error
Our total error (1.399) is smaller than the gap between us and the nearest competitor (2.16). We are closer to perfect than anyone is to us.
This isn’t an incremental improvement. This isn’t “slightly better.” The distance between us and the closest competitor is larger than our entire error. We are closer to mathematically perfect color than any competitor is to us. And nobody is even close to closing that gap — because they’re all building on Adobe’s broken foundation. We replaced it.
Ready to see what matched color actually looks like?
We could show you all the side-by-sides in the world. But the math does a better job than that ever will.
You might be scrolling through this wondering: “Where are the before-and-after images? Show me the comparison shots.”
Here’s the thing. We measured these using CIEDE2000 (CIE 142:2001) — the international standard for perceptual color difference, defined by the International Commission on Illumination. This standard quantifies color differences in CIELAB space at 16-bit precision, using a mathematical model that maps to human visual perception more accurately than your actual eyes can resolve.
At a mean ΔE of 1.399 across 188 cameras, the color differences in our fleet are below the threshold of reliable human discrimination. A trained colorimetry expert with a calibrated monitor in a controlled viewing environment would struggle to see the difference. On your laptop? On your phone? On a client’s screen? Forget it.
So for all you know, if we posted comparison images, they could be the same damn image.
Yes. They are that good.
The math and the standardized testing don’t lie. They’re honestly more honest than your eyes. Your eyes adapt. Your eyes compensate. Your eyes are influenced by surrounding colors, ambient light, screen calibration, and fatigue. CIEDE2000 doesn’t. It measures absolute perceptual difference, every time, the same way, to a precision that exceeds human visual acuity.
Comparison photos are marketing theater. We brought a measurement standard.
Every other brand shows you pretty pictures. We show you what the pictures actually measure. Because when the numbers are this good, the pictures can’t tell the story. The differences are too small to see. And that’s the whole point.
80,000 profiles. 400+ iterations. One obsession.
Film had this solved. Portra 400 was Portra 400 — in a Contax, a Leica, a Nikon, a Hasselblad. Same emulsion. Same chemistry. Same color. The camera body was irrelevant. The foundation was consistent.
Digital broke that. Every manufacturer ships proprietary color science. Every sensor interprets light differently. Every camera renders differently. And for twenty-five years, the industry’s answer was “fix it in post.”
We refused.
We built 188 individual dual-illuminant camera profiles — one for every camera in our fleet. Not a preset slapped on top of a broken foundation. The foundation itself, rebuilt. Sensor by sensor. Camera by camera. Over 80,000 individual profiles generated, measured, rejected, and refined across 400+ iterations. Calibrated under two illuminants (StdA + D65). Verified with CIEDE2000.
This is not a preset pack on top of Adobe’s broken defaults. This is the replacement for Adobe’s broken defaults.
Distilled, not assembled. Each camera profile is the best-ever result for that camera across 400+ iterations.
We didn’t just beat the presets. We beat the camera profiles themselves.
The cross-camera tests above compared full editing pipelines — presets and profiles combined. But the real foundation is #tEE ΔE’s proprietary camera balancing technology on its own. The invisible layer. The sensor calibration. So we tested that too. Isolated. Pure. Camera profiles vs camera profiles.
We put our 188-camera fleet head-to-head against every third-party camera profile maker on the market: DVLOP (three generations) and TAP Natural — the only companies that even attempt to ship custom camera profiles. Same measurement pipeline. Same CIEDE2000 standard. Same 24-patch Colorchecker reference. No presets. No processing. Just the camera balancing technology doing its one job: getting color right.
Camera Profile Fleet Comparison — Pure Accuracy
| Profile Fleet | Cams | Mean ΔE | Median | Neutral | Chrom | < 2.0 | > 5.0 |
|---|---|---|---|---|---|---|---|
| tEE ΔE — BALANCED | 188 | 1.399 | 1.374 | 1.779 | 1.272 | 179 | 0 |
| DVLOP FILM | 68 | 4.083 | 3.893 | 4.174 | 4.053 | 0 | 11 |
| DVLOP X | 123 | 4.089 | 4.043 | 3.443 | 4.305 | 0 | 11 |
| TAP Natural | 178 | 4.381 | 4.244 | 4.179 | 4.449 | 0 | 44 |
| DVLOP FILM II | 76 | 4.431 | 4.273 | 4.316 | 4.469 | 0 | 15 |
| DVLOP III | 101 | 4.641 | 4.463 | 4.002 | 4.854 | 0 | 25 |
Pure camera profile accuracy — no presets, no processing. CIEDE2000 measured, 24-patch Colorchecker reference.
Mean ΔE by Profile Fleet
Nearly 3× more accurate than the best competitor. And that gap is consistent — every DVLOP generation, every TAP product, all clustered between 4.0 and 4.7 ΔE. We’re at 1.399. They’re not in the same conversation.
Cameras Under 2.0 ΔE — The Number That Ends the Debate
The expert-acceptable threshold is 2.0 ΔE. How many cameras does each profile get under that bar?
Read that scoreboard one more time. 179 out of 188 cameras under the expert-acceptable threshold. Every single competitor: zero. Not “a few.” Not “less than us.” Zero. DVLOP FILM: zero. DVLOP X: zero. TAP Natural: zero. DVLOP FILM II: zero. DVLOP III: zero. Not a single camera from any competitor meets the expert-acceptable standard. We get 179.
Cameras Over 5.0 ΔE — “Obviously Wrong”
TAP Natural pushes 44 cameras into the “obviously wrong” zone. DVLOP III puts 25 there. Even the “best” competitors leave 11 cameras over 5.0 ΔE. We leave zero.
Fleet Coverage — They Don’t Even Show Up
It’s not just accuracy. It’s coverage. How many cameras does each profile maker actually support?
DVLOP FILM covers 68 cameras. That’s 37% of our fleet. And for those 68 cameras it does cover? Mean ΔE of 4.083 with zero under the expert threshold. TAP Natural gets close on coverage (178 cameras) but delivers 4.381 ΔE with 44 cameras over 5.0 ΔE and zero under 2.0.
Coverage without accuracy is just widespread mediocrity. Accuracy without coverage is a party trick. We deliver both. 188 cameras. 1.399 ΔE. 179 under the expert threshold. Zero over 5.0. Nobody else is in the frame.
The gap between us and the best competitor (2.68 ΔE) is nearly twice our entire error (1.399 ΔE).
Let’s be very clear about what this means.
These are the only other companies on earth that even attempt to build custom DNG Camera Profiles. This is the entire competitive landscape for sensor-level color calibration. And not a single one of them can get a single camera under the expert-acceptable threshold.
We get 179 out of 188.
This is not an incremental improvement. This is the difference between the thing working and the thing not working.
5 layers. Zero guesswork.
Every preset brand gives you surface-level adjustments on top of Adobe’s generic color. We rebuilt the entire stack from the sensor up. Five layers. Each one does exactly one thing. Together, they eliminate every variable between you and the color you want.
Camera Matching
188 camera-specific profiles powered by #tEE ΔE proprietary camera balancing technology. Invisible. Automatic. Your camera’s color is normalized before you touch a single slider. This is the layer that makes everything above it consistent across every camera.
28 Custom Profiles
11 Prêt-à-Porter + 11 Couture + 6 Monochromatique. Each shapes how Lightroom interprets color and tone before any adjustment. Deeper than a LUT. This is rendering philosophy.
30+ Presets
Signature, Scene, Soirée, and Fête. Each preset auto-activates its matching profile and camera matching layer. No manual steps. No guessing. One click.
AI REFINE (10 Presets)
AI-powered finishing using Lightroom’s masking engine. Face Card. Foundation. Brow Game. Afterglow. Golden Hour. Blue Skies. One click. No manual masking. Stack them — they target different elements.
50+ Tools
Surgical finishing: contrast, texture, film grain, skin, clarity, presence, film aesthetics. Every tool supports the Amount slider for infinite precision. All work on top of the camera matching layer.
We tried to break it. We couldn’t.
We ran tEE-profiled images through Google Imagen — destructive AI re-rendering that rewrites pixels at a fundamental level. This is the nuclear option. The worst-case scenario. The thing that should destroy any color foundation.
After AI destruction: tEE = 2.887 ΔE.
Best competitor UNTOUCHED: 3.562 ΔE.
Read that again. Our profiles after worst-case AI obliteration are still more accurate than every competitor’s profiles in their pristine, untouched state.
The camera matching layer anchors your cameras so tightly together that even aggressive pixel-level AI manipulation cannot pull them apart. The foundation holds.
tEE (Destroyed) vs Everyone Else (Untouched)
Let that sink in. Here’s tEE after AI destruction compared to every competitor in their untouched, pristine state:
Our worst-case scenario beats their best-case scenario. tEE after destructive AI re-rendering still outperforms every single competitor and default profile in their pristine, untouched state. This isn’t resilience. This is a different category of technology.
Still better than everything else untouched.
Your current presets can’t survive a white balance shift. Ours survive AI obliteration.
AI editing won’t fix this either. We tested it.
You might be thinking: “I use Imagen. I use Aftershoot. I use [insert AI editing platform]. It handles my consistency for me.”
No. It doesn’t.
We tested it. We ran 188 cameras through AI editing pipelines, and here’s what we found: every single AI editing platform defaults to Adobe Standard as its underlying camera profile. The same Adobe Standard that scores 5.229 ΔE. The same Adobe Standard that puts 124 out of 188 cameras over 5.0 ΔE. The same Adobe Standard that gets 11 cameras — eleven — under the expert-acceptable threshold.
That’s what your AI is building on. A broken foundation. Before it touches a single slider.
But it gets worse. These platforms don’t just use a broken profile — they don’t account for camera-to-camera variation at all. They treat color as a slider problem. They analyze your exposure, your white balance, your tone curve, and they make adjustments. But at no point do they ask: “What camera shot this image? What sensor is behind these pixels? How does this sensor’s color response differ from the sensor in the next image in this gallery?”
They don’t. Because they can’t. Because that would require per-camera colorimetric calibration data. Which they don’t have. Because nobody had it. Until we built it.
What AI Editing Platforms Actually Do
“Consistent editing”
They match exposure, white balance, and tone across images.
Consistent sliders on an inconsistent foundation
Same adjustments applied to different color baselines = different results per camera.
Normalize sensor color response
They have no per-camera calibration. Your Canon and Sony still start from different color baselines.
Guarantee cross-camera cohesion
Without camera-matched profiles, cross-camera color agreement is mathematically impossible to achieve through post-processing alone.
Here’s the proof. We took tEE-profiled images, ran them through Google Imagen — the most destructive AI pipeline we could find — and measured the output:
tEE after AI destruction (2.887) still beats AI platforms’ starting point (5.229)
Your AI editing platform took a shortcut. It got lazy. It made too much money off of your apathetic desire for a “cohesive gallery” to bother solving the actual problem. It slaps consistent adjustments on inconsistent foundations and calls it done. The gallery looks edited. It doesn’t look matched. Because it isn’t. And your clients can see it. And your portfolio shows it.
Your clients deserve better. Your portfolio deserves better. You deserve better.
AI editing is a finishing tool. It is not a foundation. It cannot solve a problem it doesn’t know exists. The color mismatch between your cameras isn’t an editing problem — it’s a calibration problem. And calibration happens at the camera profile level, before your AI platform ever opens the file.
tEE fixes the foundation. Then your AI platform can do its job properly — on a calibrated, matched, consistent baseline across every camera in your kit.
In fact, tEE + AI editing is the best of both worlds. We normalize the color. They speed up the workflow. But only in that order. Foundation first. Automation second. The other way around is just fast-forwarding through the wrong answer.
Stop fixing what should have been right from the start.
Shoot two cameras. Get one color.
Lab benchmarks are one thing. But photographers compare images to each other — not to a colorimetric reference. So we tested real-world cross-camera cohesion: multiple profile and preset configurations across 188 cameras under real editing conditions.
The Brooks benchmark. The wedding photographer’s nightmare. The multi-camera shooter’s daily tax. How close do images from two different cameras actually look when you apply the same editing pipeline?
Even with a creative preset applied (tEE + Brooks), we still hold at 1.524 ΔE. After destructive AI editing through Google Imagen: 2.887 ΔE. All three configurations beat every competitor’s untouched result.
Priority 70 pro cameras — the cameras that matter most: tEE = 1.326 ΔE. Competitors = 4.012 ΔE. Three times more accurate on the exact cameras working professionals use every day.
That’s 3× more accurate. And we cover all 70 priority cameras. They cover 15. That’s not a competition. That’s a forfeit.
Your second body now matches your first. Your second shooter’s gear now matches yours. The gallery goes out in half the time. That’s not a feature — that’s giving you your evenings back.
What This Looks Like in Real Life
Wedding day. You’re shooting two bodies. Your second shooter has a different brand. You import everything into Lightroom, apply one preset, and sync. The skin tones agree. The whites agree. The colors are cohesive without touching a single slider. The gallery goes out in half the time.
Studio campaign. You’re shooting across a Fujifilm GFX and a Sony A7R V. Different sensor sizes, different color science, different manufacturers. With tEE, they produce the same colors. No more hours of manual matching between setups.
Editorial spread. Images from three photographers. Three different camera brands. One unified visual language. No post-production gymnastics.
Second shooter. They show up with gear you’ve never touched. Doesn’t matter. If their camera is on our list — and with 188 cameras, it is — the colors match yours.
Every camera you own. Every camera you’ll rent.
188 cameras. 11 manufacturers. Sensors spanning 2013 to 2026. From 1-inch compact to medium format. Every single one has its own individually calibrated, dual-illuminant DNG Camera Profile.
Proportional: camera count by manufacturer across the 188-camera fleet
188 cameras. 80,000+ profiles built. 400+ iterations.
Camera not listed? The presets still work beautifully — they’ll use Adobe’s base rendering. Email us at info@theeditorialedit.com and we’ll add your camera to the fleet.
Three editions. One standard.
Prêt-à-Porter
Master Collection
Couture
How we actually did this.
For the skeptics. For the pixel-peepers. For anyone who wants to know what’s under the hood.
Dual-Illuminant Calibration
Every camera profile is calibrated under two illuminants — Standard Illuminant A (tungsten, 2856K) and D65 (daylight, 6504K). Lightroom interpolates between these calibration matrices based on the white balance of your image. The result: accurate color rendering across the full range of lighting conditions you actually shoot in. Not just daylight. Not just tungsten. Everything between.
Forward Matrices (FM1 + FM2)
Color correction is applied via 3×3 linear forward matrices — not lookup tables, not approximations, not AI guesses. Two matrices per profile (one per illuminant), operating in a linear light domain for mathematically precise color transformations. This is the same class of operation used in professional cinema color pipelines. Applied to still photography for the first time at this scale.
CIEDE2000 Validation
Not by eye. Not by feel. By the international standard. CIEDE2000 (CIE 142:2001) measures perceptual color difference in CIELAB space using 16-bit rendered output. Every camera is measured against a 24-patch Colorchecker reference. Automated computer vision patch detection. Verification images generated for every camera in every condition. Measured. Not estimated.
Iterative Refinement
400+ passes. 80,000+ individual profiles generated, measured, and refined. Two purpose-built convergence engines — IRON GATE (primary correction, 5.0→1.5 ΔE) and IRON FLUX CAPACITOR (predictive optimization, 1.5→1.399 ΔE). Each iteration measures, corrects, and verifies. The surviving profiles are the best-ever result for each camera. Distilled, not assembled.
So why are you still using Adobe Color?
You spent thousands on cameras. Hundreds on lenses. Hours on lighting. You invest in glass, in bodies, in modifiers, in education. You optimize everything in your capture pipeline.
And then you hand your color to a default profile that can’t tell your Canon from your Sony.
1.399 vs 5.229. That’s the gap. Between measured precision and factory-default guesswork.
179 vs 11. That’s cameras under the expert threshold. Ours versus Adobe’s own default.
0 vs 124. That’s cameras in the “obviously wrong” zone. We have zero. Adobe Standard puts 124 of your cameras there.
551 out of 553. That’s the head-to-head record. Against every competitor tested.
This isn’t a preset. It’s not a look. It’s not a creative choice. It’s the infrastructure your presets should have been built on all along. The invisible foundation that makes every other tool you own work the way it was supposed to. The layer that film had built in. The layer that digital forgot.
We built it. Nobody else did. Nobody else can.
Still Have Objections? Let’s Go.
“I already use [Goodlight / DVLOP / Tec Petaja / KT Merry].”
We tested them. By name. Head to head. Goodlight MV1: 3.562 ΔE. DVLOP Jose Villa: 5.169 ΔE. Tec Petaja Portra: 4.536 ΔE. KT Merry Fuji 400H: 6.887 ΔE. tEE: 1.399 ΔE. Your current choice puts between 27 and 100 cameras over 5.0 ΔE. We put zero. These aren’t opinions. These are measurements.
“But I like the look of my current presets.”
Keep them. tEE works underneath any preset. The camera matching layer (Layer 1) normalizes your camera’s color before your preset even touches the image. Your presets will actually work better because they’re starting from a calibrated, consistent foundation instead of whatever random color science your camera shipped with.
“I only shoot one camera brand.”
Your Canon EOS R5 and your Canon EOS R6 have different sensors with different color responses. “Same brand” does not mean “same color.” We calibrate per-camera, not per-brand. And when you upgrade, rent, or hire a second shooter, you’re covered.
“I can match cameras manually.”
You can. And it takes 30–90 minutes per session. Multiply that by every shoot, every gallery, every year. tEE does it in zero minutes, to a tolerance you cannot achieve by eye, across 188 cameras. Time is money. This is free time.
“This seems too technical for me.”
Install the presets. That’s it. The #tEE ΔE camera matching layer installs automatically when you install the preset pack — you don’t do anything extra. After that, it applies behind the scenes every time you use a tEE preset. If you want just the camera matching without a creative look, click the #tEE ΔE-only preset at the bottom of the pack. One click. Zero setup. Zero configuration. The complexity is ours. The simplicity is yours.
“I use Capture One, not Lightroom.”
DNG Camera Profiles are a Lightroom/Adobe Camera Raw technology. If you’re in the Adobe ecosystem, this works. If you’re considering switching, this is a reason to.
Who this is for.
Multi-Body Shooters
Two cameras. One event. Zero slider work to match them. Second shooters with different gear? Handled. Import, apply, sync, deliver.
Studio & Campaign
Shooting across bodies and focal lengths? A GFX and an A7R V will produce the same colors. Campaign consistency without post gymnastics.
Agencies & Publications
Contributor images from different photographers with different cameras. One system. One visual language. No hours of manual matching.
Anyone Tired of Fighting Their Cameras
If you’ve wondered why your images don’t look like the photographer you admire — it’s not your eye. It’s not your skill. It’s your color science.
What you’re actually buying.
Let’s break down exactly what’s in the box — and why each piece matters.
The 188 camera profiles alone are worth the price of admission. They install automatically when you install the presets — no extra steps. After that, the camera matching layer activates behind the scenes every time you use a tEE preset, or you can apply it standalone with the #tEE ΔE-only preset at the bottom of the pack. It normalizes your camera’s color output before you start editing. Your current presets will work better on top of it. Your manual edits will start from a calibrated baseline. Your multi-camera galleries will match.
Everything else is a bonus built on top of a technology that didn’t exist until we built it. The presets. The profiles. The AI tools. The finishing suite. All of it designed to work in concert with the camera matching layer — the invisible foundation that makes everything above it consistent across every camera.
Canon shooters: No more separate Canon-specific presets. The #tEE ΔE system makes that entire category of workaround obsolete. Every camera gets its own individually calibrated profile. Every preset works on every camera. No exceptions.
“$275 for presets?”
We hear you. We do. And we’re not going to pretend that’s impulse-buy territory. So let’s have this conversation, because you were thinking it and we’d rather just say it out loud.
These are not presets.
These are not your run-of-the-mill trash-panda presets hacked together from some old VSCO filter. These were not made on a whim by a guy sitting in mixed lighting on a Hewlett-Packard laptop eyeballing skin tones. These are not a “look” someone decided was pretty and then slapped on 40 cameras and called it a product.
This is computational color science. 80,000+ DNG Camera Profiles generated. 400+ iterations. Two purpose-built convergence engines. CIEDE2000 validation on every single camera. 188 individual dual-illuminant calibrations. Measured. Rejected. Refined. Measured again. For over a year.
We have the receipts. Not mood boards. Not vibes. Not “inspired by film.” Receipts. Numbers. International standards. And they prove — objectively, repeatably, mathematically — that this is worth the money.
But here’s the real question:
How much did you pay for your photographer hero’s branded presets?
$150? $200? $300? And did they make your work any better? Did they fix the cross-camera matching problem? Did they give you measured, calibrated color? Or did they give you warm fuzzies and buyer’s remorse?
Be honest. You bought the name. You bought the parasocial relationship. You bought the fantasy that if you used their presets, your work would look like theirs. And then you opened Lightroom, applied the preset, and your images looked like… your images. Shot on your camera. With your sensor. Through your color science. And their preset just sat on top of the same broken foundation that was there before.
You can pay for hero worship. Or you can pay for color science.
Hero worship gives you a famous name on the receipt and the same mismatched cameras you had yesterday. Color science gives you 1.399 ΔE mean accuracy, 179 cameras under the expert threshold, and zero cameras over 5.0 ΔE. One of these things actually improves your work. The other one improves someone else’s income.
Stop trying to look like someone who isn’t you. Start building your work on a foundation that’s actually calibrated, actually measured, and actually works on your specific camera — not a generic look designed to sell downloads.
$275 for 188 camera-specific profiles, 28 creative profiles, 30+ presets, 10 AI finishing tools, and 50+ manual tools — all built on the only cross-camera color matching system in photography history? That’s not expensive for presets. That’s cheap for infrastructure.
And unlike those hero presets gathering dust in your Lightroom sidebar — you’ll actually use these. Every shoot. Every camera. Every time.
You’ve read this far. You know the numbers. You know the gap. The only question left is how long you want to keep settling.
The foundation changes everything.
188 cameras. 1.399 ΔE. Zero compromises.
All editions include 188 camera-matched profiles and the complete 5-layer system.
Already own tEE? Here’s your upgrade.
Gen 2 is not an update to your existing pack. It’s an entirely new product line — new color science, new measurement systems, 188 individually calibrated camera profiles, new REFINE AI tools, and new creative presets built on top of all of it. We rebuilt everything from scratch.
That said — we love our customers, and we want to make this as fair as possible. So here’s your upgrade pricing:
Even if you don’t use tEE presets regularly — the #tEE ΔE camera matching technology alone is worth the upgrade. Activate it via the standalone preset at the bottom of each pack. It normalizes your camera’s color output to match all 188 supported cameras. And yes — it plays nice with all other presets. Any preset, any brand. The camera matching works underneath everything.