Establishing White Point and Black Point

Hi,
How do I Establishing a White Point and a Black Point in Lightroom 1.4.1 and especially in Lightroom 2 Bata?
Thank You,
Hersul

The last post by OP might have closed this thread, but given the relative lack of activity on this and LR2 forums (summertime?) - I'll go a little deeper.
i White point
- If your white balance is right from the start, you just use the Exposure slider to set the white point. If not, first set the white balance - that effectively sets a preliminary white point for each channel separately, or, to be more precise, matches the right side of the histogram for each channel - then set the Exposure. So, with the white point you have complete control over the histogram, as well as over each channel.
i Black point
- here the situation is different. You can move the left side of the main (composite?) histogram using the Blacks slider, but there's no means for moving channels separately. In theory, with digital capture, there probably should not be need for this, blacks should be always black, so that's OK, but...
I once had a batch of pics scanned from film. The film was poorly developed so it has some strong brown-magenta cast in the shadows. In Photoshop it was a piece of cake to set the black point by dragging the left ends of each channel to the left edge of the histogram (heck, even Auto Level did a wonderful job). In Lightroom, there's just no way you can correct this, because you can't control the channels separately.

Similar Messages

  • Setting  a White Point and Black Point

    I would like to suggest for future versions of lIghtroom to have an ability to set the white point and black points similar to levels and curves in Photoshop. This would be in addition to setting middle grey in the white balance settings currently in Lightroom.  I find that the method of using Threshold to find the closest white and black pixels and then using these points to set the black and white points in curves or levels provides a better way to fix a color cast than the methods available in Lightroom.

    MB,
    There is no real need for Black and White point eyedropper type tools in Lightroom.  By holding down the Alt key while changing the Blacks or Exposure sliders the display will show the areas that are being clipped.  This is much faster than looking around for the darkest and lightest areas manually.  If you just like to click to taste (like using the White balance dropper) then forget the Alt key and just move the sliders until you get the desired look.
    Remember that the problem with Photoshop is that there are so many ways to do the same thing that it has become difficult and bloated.  Lightroom strives to keep the interface as clear as possible.

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    I am using Camera Raw 7 and can not seem to locate where can you set the white, mid, and black points in Camera Raw with the eyedropper tool. It seems you have to create a new psd file in Photoshop to do this, which does not make much sense since it is a basic levels adjustment. I am batch editing a bunch of CR2 files, and I just need to select the black, mid and white points on a grayscale that I've shot in the images - is there a way to do this in Camera Raw 7? Thanks!!

    ACR doesn’t work that way.  There is an eyedropper for the overall white-balance that you can set by clicking on a relatively bright, neutral area, but there aren’t black and white-point eyedroppers.  But, what is clipped black or white is determined by the output colorspace you have set at the bottom and you can get some idea of what will be clipped black and white by turning on the clipping indicators and watching for the areas you’d be eye-droppering on (the black and white patches in your grayscale) to start showing the clipping color overlay for black and white, but any further toning adjustments will move data in and out of what is darker than black and lighter than white so what is clipped for output will change as you fiddle with the various toning sliders.
    The reason things are different:  In PS, when you set a black-point and white-point in Levels and click Ok, the data below and above those is thrown away and that is the starting point for the next adjustment.  In ACR, things are non-destructive and all the adjustments occur simultaneously, rather than sequentially as in PS, and no clipping occurs until you create the output file.  This means that the pixels that are darker than your black-point and lighter than your white-point are still there, and can be moved into the black-to-white range if you do further toning adjustments.  Having more headroom of the pixels that are outside the black-to-white range is good because you won’t get the posterization or banding that occurs when colors and levels are clipped after each adjustment in PS.
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  • White and black point vs ??

    I never know which forum to post these things, so I'll start with the photographers.
    <br />
    <br />These three shots are as follows: (1) the camera raw version, (2) where I moved the sliders from the ends to approximately the beginning/end of the major portion of the histogram, and (3) using the threshold control to find the white and black points in the main part of the picture.
    <br />
    <br />Then, in the two adjusted versions, I lightened the image with the curves control.
    <br />
    <br />In both these cases, I used the grey dropper to touch the same spot on one of the rocks, to get the apparent neutral point.
    <br />
    <br />It seems to me that the threshold method to find the white and black points is preferred, based on the overall color and appearance of the finished adjustment.
    <br />
    <br />But, I've found on some images where the histogram has missing black and missing white, if I adjust the sliders to these two ends, I get pretty much the same outcome, as far as the contrast, color, and grey point.
    <br />
    <br />Could I have some advice on the preferred method to use in handling my image adjustments? Doing it the threshold method takes more time, and sometimes it's difficult to find the white and black points, or even the grey point.
    <br />
    <br />Thanks.
    <br />
    <br />Al
    <br />
    <br />
    <a href="http://www.pixentral.com/show.php?picture=1SlEeG9kfwzD34gVOEcCbg7Ktp83p3" /></a>
    <img alt="Picture hosted by Pixentral" src="http://www.pixentral.com/hosted/1SlEeG9kfwzD34gVOEcCbg7Ktp83p3_thumb.jpg" border="0" />
    <br />
    <br />
    <a href="http://www.pixentral.com/show.php?picture=1tIEs4eAyKz4sxamyVaYRlKjTIIfKj" /></a>
    <img alt="Picture hosted by Pixentral" src="http://www.pixentral.com/hosted/1tIEs4eAyKz4sxamyVaYRlKjTIIfKj_thumb.jpg" border="0" />
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    <br />
    <a href="http://www.pixentral.com/show.php?picture=17K3ewFXsGo4K2uH5TGfO06CdVayyn1" /></a>
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    Yes the image was purposely underexposed. What I was trying to accomplish was to speed up the shutter speed to remove the slight blurring and compensate by pulling data from the shadows. Even though the lens has an image stabilizer the amount of light wasn't enough for a proper sharp shot.
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    This last image is F/5.6, 1/4, ISO 800
    I believe that I will have to wait next year and hope I have a faster lens by then. I just don't think the 28mm-135mm f/3.5-5.6 lens is fast enough. I was trying this without a tripod to get in tighter.
    Also I was taking these shots without the flash to get the drama of the tree lights.
    What I would have prefer is a shutter speed of 1/125 or better as it helps with my hands shaking I believe the slowest should be 1/60
    And the lower the ISO the better for noise.
    These preferences are what I am used to with my Canon G3 that does not have IS.
    I am getting so off track here, lol. But anyways, here are the pictures.

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    Jim,
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