No white balance in camera raw

i am trying to use iphoto instead of Photoshop to correct my raw images, but in the Adjustments pane i don't see a white balance correction. am i doing something wrong?

I looked at the Help, and it pointed me to the Eyedropper tool. That's that little icon left of the Tint in the adjust palette. It does exactly what white balance used to.

Similar Messages

White Balance in Camera raw

Every time I open an image from Bridge in CS6, into camera raw the white balance always defaults to fluorescent. How can I change default opening to read as"shot as"?

Hi there! Because the forum you originally posted in is for beginners trying to learn the basics of Photoshop, I moved your question to the Camera Raw forum, where you'll get more specialized help.

Setting White Balance in Camera RAW

I have heard and read (what apppears to be) contrary information about using the White Balance Tool in Camera RAW.
I have sometimes heard that I need to select a naturally white point (as opposed to a specular / highlight point); but I have also heard that I need to select a neutral gray point.
I am wondering if it's either / or and that it all amounts to the same thing.
Can anyone assist and explain the differences?

You can use any area that has no colour contend regardless of its tonal value. For instance you can use full black to se WB. Note this is not the same as setting black and white points in ACR

Retaining custom White Balance on importing Raw IR files

How can I stop LR from changing my custom White Balance on importing RAW Infra Red files_

LR does interpret camera-embedded WB numbers but it is limited to 2000K on the red end. Is your custom WB below 2000K?
The way around LR not being able to go red enough for IR is to make a custom camera profile with the DNG Profile Editor that includes a negative WB calibration shift, which can further subtract from the normal limit of 2000K. That still won’t help translate a camera number to a LR number, I don’t think, but it would help you apply a LR-computed number to your IR images, normally by eyedroppering your Custom WB raw in LR with the IR profile place.
Tutorial 4 on page 8 of the DNG Profile Editor documentation describes what to do for IR photos:
http://wwwimages.adobe.com/www.adobe.com/content/dam/Adobe/en/products/photoshop/pdfs/cs6/ DNGProfile_EditorDocumentation.pdf
The DNG Profile Editor itself is available in the Photoshop Resources list:
http://www.adobe.com/products/photoshop/extend.displayTab2.html#resources

Setting White Points in Camera Raw

When setting white points in Adobe Camera Raw, while holding down Alt (on a PC), are the red marks what I should look for? Because white marks also appear? Which ones are relevant for the white point?

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.
Can you describe what you intend your overall workflow to be on an image: how much adjusting will occur in ACR and how much, if any, might happen in PS, after the image is opened into PS from ACR, or opened from a file saved from ACR? There might be other ways to approach what you’re trying to accomplish.

Correcting wrong white balance setting in RAW .CR2 photo

I set my camera custom white balance incorrectly and took a days worth of photos in RAW mode. When imported into iPhoto they have terrible coloring (as expected). iPhoto does not seem to have a WB adjustment (Daylight, Tungsten, Fluorescent, etc.), so i opened the .CR2 files with Canon Photo Professional and changed the WB setting for the photos to 'AUTO' correct colors and saved. When i import them back into iPhoto, the while balance is unchanged (but when i re-open them in Canon P P they have correct color). Does anyone know how to get iPhoto to import with this modified WB setting?
Source: Canon 20D RAW format
Thanks for any help!

You would need to export the files from DPP as tiffs or something similar. There is no way iPhoto will see the adjustment by DPP otherwise.
For White Balance in iPhoto check out the Temperature and Tint pane in the Adjustments - check out the eye dropper.
Regards
TD

White balance from camera????

I have a Canon 1D MkII N.
Aperture (1.5.2.) does not seem to apply the white ballance settings from my camera (RAW images of course).
Can't believe that I have to set the white balance for each and every image...
Am I missing something?
Please help

Hi Roger,
The image should come in with the white balance settings that came off the camera. Specifically, the color temperature and tint should be set.
Now note that Aperture does not have the same defaults that the Canon RAW software has -- there is no "cloudy" "shade" "tungsten" e.g. as presets. But if you set it on shade it should come in with a temp of say 6500 -- whatever the camera defaults to. You will just see numbers for temperature and tint, though. Is this not what you're seeing?
I just tried it on my 1D mark II with 5 different color temperatures on camera and they're definitely different in Aperture. Tungsten came in at 3193K and has a definite blue cast. Though on the one I explicitly set to a color temp of 5200K on camera came into Aperture as 4800K.

Aperture incorrectly reading white balance data from RAW file?

I'm having some problems with both Aperture 1.1.2 and 1.5 importing RAW files from a Nikon D70 and a Canon G6. In both cases, Aperture is not reading the "as shot" white balance correctly.
With the G6, Aperture is always setting a fixed color temperature of 6016K, and a fixed tint of -15, regardless of the image in question. If I read the same image using Adobe Camera Raw, or Lightroom, then it I get the white balance value as set in the camera.
With the D70, it's picking up a different white balance value from the one set in the camera, always one far warmer than it should be, and with a green tint. Again, the Adobe tools get the right value out of the RAW file. With both cameras I have experimented with setting the white balance manually on the camera, and also with the "auto white balance" setting, but it makes no difference to Aperture.
Obviously I can change all of the values manually, but it's very time consuming, and in most cases the in-camera value is pretty close to what I need, so I'd much prefer Aperture to use it.
In any case, I'm worried about the discrepancy between Aperture and Camera Raw on something so basic.
Anybody got any ideas? I'm hoping I'm just doing something silly, as I have only been using Aperture for a couple of weeks, and maybe something is mis-configured.
Thanks
HG

In any case, I'm worried about the discrepancy
between Aperture and Camera Raw on something so
basic.
Sorry I can't help you directly with Aperture as I haven't bought it - yet. However, re-the above quote, I'd just mention that the interpretation of colour temperature values is not quite as simple as it might seem. Even more so when you bear in mind that RAW converters from 3rd parties like Adobe or Apple are not based on the RAW conversion engine produced by the camera manufacturer - in effect they have to guess/estimate what the temp/tint values in the RAW file actually mean...
Some time back I made a series of tests using 3 Canon cameras, with ACR, Capture One & the Canon RAW converter. Each produced noticeably different results, and C1 & ACR showed quite different temp/tint values. (The Canon software only showed 'As Shot' - no values). The differences were consistent between shots from each camera (using WB values input or AWB) - but they weren't consistent from one camera to another. Which program produced the best result depended very much on the Camera/Subject/Personal taste...
Hope someone can help with Aperture specific info, I'm sure there must be a way of making camera specific adjustments to the RAW conversions...

Change preferences for Auto black/white point in Camera RAW

Hey guys,
By hold shift and clicking on the slider for whites Camera RAW automatically sets the white point, same goes for the black. However, it always gets pushed to 255 (white).
Is there some way that you can edit this preference?

I don't know, but somebody may know for sure over in the camera raw forum:
https://forums.adobe.com/community/cameraraw

Trying to custom white balance and camera is saying "busy ..please wait"

cant custom white balance my 60d never had this problem before the camera is about a year old and started that today.cant figure this out and tech support didnt sound like they heard of it before.

Thanks for replying.
No, not in Auto mode. I was in Aperature mode.
I have used custom white balance many times before.
I tried the battery removal etc. No luck there.
Removed and reinserted card. No help.
I finally got out of this hangup.
I downloaded all images to PC using the Canon EOS software.
Then I deleted all images from card in camera.
Then when I set up custom white balance again, it worked just as expected.
There was a very brief flash of the "Busy..." message and then into the next step to set .
Have no clue as why this suddenly started.
Maybe struck by stray gamma ray burst
Canon 3Ti, EF 50mm f/1.4 USM, EF-S 18-55mm f/3.5-5.6 IS II, EF-S 55-250mm f/4-5.6 IS II, 320EX Speedlite

Does Lightroom read white balance settings in NEF files?

I have noticed an interesting difference in white balance color temp using Lightroom vs. Capture NX: In a Nikon D70 RAW shot (with camera white balance set at Direct Sunlight, no fine-tuning) Lightroom shows the "as shot" color temp to be 4850K. Capture NX reads the as shot color temp to be 5200. If Lightroom is reading the NEF w.b. settings, why isn't it reading the K temp as 5200?

Fred Felder:
I still have not been able to find the original post (the links I tried to follow appear to be broken) by Thomas Knoll but I found another message which contains the relevant quote:
Ramón G Castañeda, "D200 White Balance Issue" #13, 30 Aug 2006 3:52 am
which says...
>Thomas Knoll - 10:47am Sep 25, 05 PST (#1 of 101) Edited: 25-Sep-2005 at 12:57pm
>This is the normal and expected result of Adobe Camera Raw and Nikon using different camera profiles and algorithms, and is not a bug.
>Because of the different camera profiles being used, when matching white balance values Camera Raw can either match the white balance appearance (which colors are exactly neutral) or the white balance numbers (exact Kelvin/Tint numbers). In these cases, Camera Raw chose to match the appearance, not the numbers.
>Even if the white balance matches, I don't expect an exact overall appearance match since Camera Raw and Nikon software use a different tone curve and rendering algorithms for non-neutral colors.

Fixing white balance

How do you fix the white balance in Camera Raw by selecting an area that should be white if there are no good samples of white? Will bringing in a white swatch to white image be acceptable to white balance off?
Thanks.

Hi Stan,
You don't need a white area, if you go to http://www.peachpit.com/articles/article.aspx?p=1350898 you will find a little tutorial on how to find a neutral color area in your picture. A bit involved, but it is very useful when there is no obvious neutral srea in your picture.
Roger

White Balance Discrepancies

Hi All,
I'm having a real head-scratcher here, and wondering if anyone else has run into this. The white balance in Lightroom is much different than what it's supposed to be (as set by the camera). For example (D200 NEF, sunny day, ~2pm):
Camera WB setting: flash.
Nikon Capture 4: 5400K
Lightroom 1.4: 6150K (-9)
WB: daylight
NC: 5200K
LR: 4950 (-3)
WB: 5300K
NC: 5300K
LR: 5000K (-4)
WB: 5600K
NC: 5600K
LR: 5250K (-6)
You'll notice there's no consistent difference. What gives? Even stranger, when I flip back and forth between the programs, the images appear the same. I know LR and NC have different ways of converting NEF files, but shouldn't these still be reading as the same numerical temperatures?
Thanks,
Martin

Even though Kelvin sounds quite scientific and the idea seems to be based on a scientific well-known concept (black body radiation) there is no standard for how to apply this to color rendition. This is obvious already from the need of a "tint" value. In a well behaved system, you should not need this as the black body radiator only has one parameter - its temperature. So the color rendition process is far more complex than just assuming a black body radiator!
Here is some reading I found on this forum by one of the main writers of the ACR/Lightroom RAW code:
>Thomas Knoll - 10:47am Sep 25, 05 PST (#1 of 101) Edited: 25-Sep-2005 at 12:57pm
This is the normal and expected result of Adobe Camera Raw and Nikon using different camera profiles and algorithms, and is not a bug.
Because of the different camera profiles being used, when matching white balance values Camera Raw can either match the white balance appearance (which colors are exactly neutral) or the white balance numbers (exact Kelvin/Tint numbers). In these cases, Camera Raw chose to match the appearance, not the numbers.
Even if the white balance matches, I don't expect an exact overall appearance match since Camera Raw and Nikon software use a different tone curve and rendering algorithms for non-neutral colors.

ACR 4: White Balance readings off of a target

In the good old days (ACR 3.7 and previous), I could shoot a white balance target, then open the image in ACR and use the eyedropper to set the white balance. No more. Now, I get a message that states - "The clicked area is too bright to set the white balance. Please click on a less bright neutral area."
Well, I'm using (and have been using) Danny Pascale's White Target that was made specifically for this purpose. (http://www.babelcolor.com/main_level/White_Target.htm)
Something has changed, and it's not for the better. I've tried decreasing the exposure in ACR, to make sure the values are far below 255, to no avail. Interestingly, the first measurement "click" does nothing. The second gives the error. The is very reproducible. Something's not right...
--Rich Wagner

Ok...
"You sure seem helbent on using your White Disk as a target for the white balance in Camera Raw...as you've found out, that's a bit less than optimal if your sensor exposure will likely produce a clipped channel since Camera Raw won't let you."
Well, when I'm crawling around in the mud in Costa Rica, Ecuador, or Peru, soaked, the ColorChecker card doesn't fare well. I've gone through a number of them, and in *my* field use, they suck. Period. In a studio, they're fine. I still own several. I just measured one for the numbers I gave above. I'm helbent on having something that is
reliable in my use. I could care less what it's called or who makes it. On the other hand, you seem insistant that the White Disk is inferior, and I'm trying to figure out why (other than the fact that Mr. Knoll used the ColorChecker card when designing ACR).
"What Thomas has stated and what I know to be a fact, is that the lightest grey of the CC is what the white balance tool is designed to use. It's light enough that it's not too far down the scale but dark enough to not worry about clipping. So, the ideal is to use the same patch that the white balance tool in Camera Raw was designed around."
Really? On my card, the lightest gray on the ColorChecker is
not the most neutral. The
second gray is. You can see the numbers above. Are you implying that Camera Raw will be more accurate making a WB measurement off of a patch that is not neutral, compared to one that is?
"So, what is it about your White Disk that has you so fixated on using WHITE (at the risk of clipping)? Yes, you can use it as long as it doesn't clip...is it optimal? No."
Argghhh... If I shoot a test shot and the White Disk clips, then guess what? I'm overexposing! Time to adjust the exposure before going on. This is easy to see on the White Disk because I get zebra stripes. I'f I'm shooting a gray card, I don't get that feedback and I may later discover that
important stuff was clipped, and it's too late! Sure, I can color balance just fine, but important highlights are gone. Which is most important? I can always eyeball color temperature - it's subjective, anyway. Or I can measure off something neutral in the shot. Clipped channels? Data lost is data lost...
Perhaps our shooting conditions are very dissimilar. I have found the White Disk to be a useful tool, just like many others that I have. It works (against all expectations?) and it works well. If I overexpose a neutral white target, I am often overexposing something else of interest. It becomes a
red flag when checking exposure, since I often cannot even see the histogram on the back of the camera. I am certainly NOT recommending that everyone switch to using a White Disk. I have just been surprised at the response of those who feel that for whatever reason it
cannot work as well as gray. I see no theoretical reason why not - still. Show me the math, or a give me clear-cut reason. My understanding (and experience) says otherwise. Or to put it another way, if it didn't work, I wouldn't use it, and neither would anyone else. If someone frequently overexposes their shots and relies on highlight recovery, it's probably not a good tool for them (unless it helps them correct their exposure).
--Rich

Adding White Balance To Raw Images

Does anyone know how to add a custom white balance to a raw image using Photoshop Elements 2?
Thanks,
John

The only way to work with RAW in PE 2 is if someone created a plug-in specifically for your camera's RAW files. For instance, for my Minolta RAW files, I used Dalibor's .MRW plug-in for PE 2. But there's nothing built-in in PE 2 that understands RAW. ACR appeared with PE 3.

No white balance in camera raw

Similar Messages

Maybe you are looking for