White Balance / Levels

I have a project that was shot in a white studio. It was intentionally shot a stop or so under as to not blow-out the highlights. I need to remove a slight cast and bring the whites up.
I sometimes correct single clips with Photoshop CS4 and found that a LEVELS/Set White point operation worked VERY well.
Is that a way to set the white point in Color 1.5? I can't seem to recall seeing it.
Thanks!

The three-way color corrector in FCP does and excellent job of correcting for white balance. I often set the white balance in FCP, send that to Color for further color correcting. Sending from Color Back to FCP, I also use the boardcast safe filter to bring back a little detail in the blown out white areas. Usually setting the RGB lImit to around 90.

Similar Messages

Workflow Suggestions Please - Adjust Colour, White Balance, Levels, Resize

Hi,
I have a number of photographs which I need to present in a consistent fashion - each is slightly different from the next in terms of exposure, levels, white balance etc, but they should all be the same. Because each is different, I can't simply define a preset in each of these and apply across the board: each needs to be consistent....
So Can anyone suggest an efficient workflow to:
- Adjust the colour so that each is consistent across the group?
- Adjust the levels so that each is consistent across the group?
- Straighten, Crop and resize so that each is an identical size?
Any advice much appreciated. I'm working with CS3 on a Mac.
D

Image: Adjustments: Match Color? I have never found this useful but maybe it's what you need. I would use it on a duplicate layer because as far as I know it's not available as an Adjustment Layer.
As far as canvas size, as long as you don't have any background layers, you can make all canvas sizes match and it's non destructive (think of the canvas as a window)
When you do end up scaling the image contents consider using Smart Objects so the sizing is non-destructive.

Video white balance levels not showing, so video effects and color editing won't work

I've watched white balance tutorials, and I tried clicking the dropper onto the viewer to change the color. But, in the gray box above it there are normally red green and blue lines, but I have nothing there. I think this is preventing any edits to my color balance, can anyone help?

Well, no offense, but you seriously should read the C4D help. That's normal specular shading behavior and it is uniform acroos the plane because you obviously haven't defined any scene lights and use the default viewport light. Read up on how to create materials and adjust there properties and then learn the fine art of scene lighting as well as how to use object buffers to isolate objects with multipass renders.
Mylenium

White Balance tool and Camera Calibration Profiles

Downloaded Lightroom v4 Beta 1 for mac but the installer package failed to launch. (com.apple.installer.pagecontroller error -1.) So I've only watched the adobe tv presentations todate.
Anyway just wanted to give some feedback as a pro photographer about use of Lightroom and improvments I would like to see in the next version.
I am a commercial photographer who needs colour accuracy in photographing fashion/garment images - most of my work is reproduced on a printing press for catalogues and brochures. On average a shoot will yeild about 500 images for a client, so workflow is important as they normally want them all!
As a previous user of Capture One Pro v6 and now lightroom v3.6 - the biggest issue I have with Lightroom is the dominace of red tint when setting the white balance from a gray card reference image, shot at the same time as the images to be processed. I'm not adding anything to the images other than doing a white balance, a tweak on exposure and camera neutral setting on profiles.
To obtain a white balance setting I use the combination of an Xrite white balance card and the Q-Card and the old fasioned Kodak Gray cards all mounted on the same surface. I've used spot and ambient light readings on the gray cards to measure exposure and I've used the Adobe DNG Profiler and the Xrite colour checker profiler with the large colour checker card as a reference, (I've made profiles for sunny days, cloudy days, dual illuminant etc etc) and I'm viewing my images on a colour calibrated apple monitor.
Not withstanding all of the above the best results I get out of Lightroom are using the camera profile neutral setting! Everthing else is just too red!! even though the images do look more punchy; for accuracy of actual colour I choose the camera neutral profile.
Well when I say best results, those for colour critical garment photography and skin tones, these results are similar to those obtained from capture one pro v6.
So for the Lightroom v4 I would like to see.
1. White balance RGB values in numbers rather than percentages.
2. Add and delete a colour readouts points with a dropper tool on an image to enable more acurate colour balancing particularly in shadow areas - (already available on capture one pro and adobe photoshop)
3. Curves adjustments in all RGB channels (think you've done this)
4. Output to CMYK profiles.
5. Individual levels channel adjustment for RGB
6. Ability re-organize my tools palette (add and remove) is per Capture One and Photoshop
Regards

The legacy ACR X.x profiles are no more produced nor included for newer cameras (AFAIK, since ACR 5.1/LR 2.1). The Adobe Standard is the new default starting point for these.
While I am at it....are the Canon camera profiles I downloaded for the 1Ds MKII the same as for the 5D MKII or do I have to download different one...I suspect they are the same or Lightroom wouldn't offer them to me...is that correct?
The profiles are different for each camera model, even if they share the same name in the Calibration panel. If you can see them when developing 5DII files, it means the camera-specific profiles are installed for your particular camera model (otherwise, you wouldn't see them).

Can I modify 'Load Files into Stack.jsx' for custom white balance?

I've been wondering whether its possible to change Adobe's 'Load Layers in Stack' script so that it loads RAW files with the white balance adjustments I have made in Camera Raw ('ACR').
At present, the script loads the files as layers with the default ACR (or Lightroom) settings. This means that any white balance adjustments to the file in ACR are ignored and the RAW file is loaded with the WB 'As Shot'.
It IS possible to save new ACR default settings, but this doesn't really help because I don't want the WB to be a constant value. The changes I make in ACR are usually subtle and 'by eye'.
I would like the script to be mindful of these changes when opening the RAW file.. does anyone have any suggestions?
The script is below.
// (c) Copyright 2006. Adobe Systems, Incorporated. All rights reserved.
@@@BUILDINFO@@@ Load Files into Stack.jsx 1.0.0.1
// Load Files into Stack.jsx - does just that.
// BEGIN__HARVEST_EXCEPTION_ZSTRING
<javascriptresource>
<name>$$$/JavaScripts/LoadFilesintoStack/Menu=Load Files into Stack...</name>
</javascriptresource>
// END__HARVEST_EXCEPTION_ZSTRING
// debug level: 0-2 (0:disable, 1:break on error, 2:break at beginning)
//$.level = (Window.version.search("d") != -1) ? 1 : 0;          // This chokes bridge
$.level = 0;
// debugger; // launch debugger on next line
// on localized builds we pull the $$$/Strings from a .dat file
$.localize = true;
// Put header files in a "Stack Scripts Only" folder. The "...Only" tells
// PS not to place it in the menu. For that reason, we do -not- localize that
// portion of the folder name.
var g_StackScriptFolderPath = app.path + "/"+ localize("$$$/ScriptingSupport/InstalledScripts=Presets/Scripts") + "/"
                                                                                                    + localize("$$$/private/LoadStack/StackScriptOnly=Stack Scripts Only/");
$.evalFile(g_StackScriptFolderPath + "LatteUI.jsx");
$.evalFile(g_StackScriptFolderPath + "StackSupport.jsx");
$.evalFile(g_StackScriptFolderPath + "CreateImageStack.jsx");
// loadLayers routines
loadLayers = new ImageStackCreator( localize("$$$/AdobePlugin/Shared/LoadStack/Process/Name=Load Layers"),
                                                                                                      localize('$$$/AdobePlugin/Shared/LoadStack/Auto/untitled=Untitled' ) );
// LoadLayers is less restrictive than MergeToHDR
loadLayers.mustBeSameSize                              = false;          // Images' height & width don't need to match
loadLayers.mustBeUnmodifiedRaw                    = false;          // Exposure adjustements in Camera raw are allowed
loadLayers.mustNotBe32Bit                              = false;          // 32 bit images
loadLayers.createSmartObject                    = false;          // If true, option to create smart object is checked.
// Add hooks to read the value of the "Create Smart Object" checkbox
loadLayers.customDialogSetup = function( w )
          w.findControl('_createSO').value = loadLayers.createSmartObject;
          if (! app.featureEnabled( localize( "$$$/private/ExtendedImageStackCreation=ImageStack Creation" ) ))
                    w.findControl('_createSO').hide();
loadLayers.customDialogFunction = function( w )
          loadLayers.createSmartObject = w.findControl('_createSO').value;
// Override the default to use "Auto" alignment.
loadLayers.alignStack = function( stackDoc )
          selectAllLayers(stackDoc, 2);
          alignLayersByContent( "Auto" );
loadLayers.stackLayers = function()
          var result, i, stackDoc = null;
          stackDoc = this.loadStackLayers();
          if (! stackDoc)
                    return;
          // Nuke the "destination" layer that got created (M2HDR holdover)
          stackDoc.layers[this.pluginName].remove();
          // Stack 'em up.
          if (this.createSmartObject)
                    selectAllLayers( stackDoc );
                    executeAction( knewPlacedLayerStr, new ActionDescriptor(), DialogModes.NO );
// "Main" execution of Merge to HDR
loadLayers.doInteractiveLoad = function ()
          this.getFilesFromBridgeOrDialog( localize("$$$/private/LoadStack/LoadLayersexv=LoadLayers.exv") );
          if (this.stackElements)
                    this.stackLayers();
loadLayers.intoStack = function(filelist, alignFlag)
          if (typeof(alignFlag) == 'boolean')
                    loadLayers.useAlignment = alignFlag;
          if (filelist.length < 2)
                    alert(localize("$$$/AdobeScripts/Shared/LoadLayers/AtLeast2=At least two files must be selected to create a stack."), this.pluginName, true );
                    return;
          var j;
          this.stackElements = new Array();
          for (j in filelist)
                    var f = filelist[j];
                    this.stackElements.push( new StackElement( (typeof(f) == 'string') ? File(f) : f ) );
          if (this.stackElements.length > 1)
                    this.stackLayers();
if (typeof(loadLayersFromScript) == 'undefined')
          loadLayers.doInteractiveLoad();

This is part of the script looks interesting - is there a reference where can I find more hooks? Perhaps there is one that relates to WB?
// LoadLayers is less restrictive than MergeToHDR
loadLayers.mustBeSameSize                              = false;          // Images' height & width don't need to match
loadLayers.mustBeUnmodifiedRaw                    = false;          // Exposure adjustements in Camera raw are allowed
loadLayers.mustNotBe32Bit                              = false;          // 32 bit images
loadLayers.createSmartObject                    = false;          // If true, option to create smart object is checked.
// Add hooks to read the value of the "Create Smart Object" checkbox
loadLayers.customDialogSetup = function( w )

How to apply white balance from jpeg to raw version

I always shoot in RAW + jpeg format. Many times the jpeg will work fine and I still have the RAW if I want to take the time to tweak things a bit more.
But sometimes the jpeg stumbles on a white balance that works well for a particular image. If I want to apply that same balance to the RAW version, I would like to be able to read what that color balance setting (in K degrees I assume) is so I can copy it.
Is there a way to find that info somewhere? The exif will only give you the name of the setting (Flash, Auto, Cloudy, whatever...) but not the numerical info needed to apply it in Aperture's White balance adjustment.
I use a Nikon D600.
Thanks very much for any info!
Bo

OK, progress!
I found out from Iliah Borg on the dpreview.com forum that the utility ExifTool (or its GUI version pyExifToolGUI) will provide the R, B, G1 and G2 values for the white balance setting. They are provided as multipliers or absolute vaules. Example:
WB RB Levels : 1.51953125 1.8515625 1 1
WB GRBG Levels : 256 389 474 256
Now does anyone know how you can enter these type of numberic values in Aperture? The standard White Balance brick does not have input fileds for these types.

How to change the white balance in Final Cut Pro?

What is the best way to change the white balance in Final Cut Pro? I have some clips which are to green. I would like if possible something which might resemble the Camera Raw dialogue in Photoshop. Any way of measuring color (RGB values)?

There is some specific help in this trainng book:
http://www.amazon.com/Apple-Pro-Training-Correction-Studio/dp/0321635280/
When using Color Corrector 3-Way to correct for a green tint, the bullet points are something like this:
1) After loading the clip into the Viewer and applying the CC3W filter to the clip, open your scopes and move the window so you can see the Viewer (with the CC3W tab open) and the scopes
2) First, if necessary, adjust the white and black levels using the video level sliders below the white and black color wheels (I use the slider above the scopes to make the trace in th4 scopes as bright as it will go without blooming)
3) Looking at the Parade scope, the idea is to balance the whites, mids, and blacks on each color display (red, green and blue). So you watch the Parade and drag the dot that is in the center of each color wheel (starting with the whites) away from the color of your tint (in your case, green). Drag the dot until the highest portions in all three Parade displays are as even as you can make them
4) Then do the same with the mids, using the Mids color wheel, moving its dot away from green
5) Do the same thing with the blacks
6) Double check the image on an external video display that is properly adjusted using color bars from Final Cut
NOTE: This short reply is not sufficient to fully explain this technique, and you really need to understand Color Theory before doing this anyway. That's why I recommended the training book.

Inaccurate White Balance Of 808 In Low Light - Any...

I find the white balance and exposure of the Pureview 808 in indoor low light shots to be erratic, mostly inaccurate in most shooting modes. Although the predecessor N8 produces a noisier and darker image that is lacking in clarity (in low light), I find its white balance to be more accurate than the Pureview 808.
In low to dim lighting, the white balance on the Pureview 808 always appear to be cooler than actual conditions apart from the image being slightly over-exposed.
Below are my observations on the Pureview 808 (only in low light):-
1) In "Scenes", Night mode will produce an image that is slightly brighter than actual conditions, slightly overexposed. White balance is off.
2) In "Creative", Auto, Incandescent and Fluorescent modes, - as above.
3) In "Creative", Sunny and Cloudy modes will produce an image that is truer to actual conditions. White balance is more accurate in these modes.
The N8 in Night mode (with white balance in Auto) produces a more accurate white balance than the Pureview 808, though the image suffers from noise and is slightly under-exposed.
Not exactly a criticism of the Pureview 808 as the overall image quality in low light at high ISO levels is still pretty remarkable with excellent clarity and low levels of noise. It's just the minor issue in the white balance which seems to be always off in low light.
In good light, bright sunny conditions outdoors, no issues.
For those who own the Pureview 808, may I ask how do you cope with this slight anomaly in the Pureview 808? Will there be software update in future to address this flaw?
Any information would be appreciated.

It is unfortunate that sample images cannot be posted here. I have some sample images which not only demonstrate the inaccurate white balance of the Pureview 808 in low light but also the erratic exposure which seems to render an image in low lighting conditions to appear brighter than what it is in real life, an over-exposed image.
Below is the link to CNET's review which also highlights the inaccurate white balance of the 808.
http://asia.cnet.com/shootout-nokia-808-pureview-vs-panasonic-lumix-dmc-lx5-62216561.htm

Help requested with White Balance

This may come as a surprise to many, but here I am requesting your help, instead of giving it.
I have filled out a feature request with the following content, already some time ago:
Would it not be nice to be able to extract the WB settings in K from the metadata and be able in post to change it to what you should have done during the shoot.
Say your WB is set to 5600 K, you can extract that from the metadata and with the White Balance effect you can enter a desired setting of say 6100 K. During the shoot you can do that with the Canon XF series, but if you have forgotten to use a warm card instead of the white balance card, this would be a great effect to have. Or in the situation where you simply want a shot to be slightly cooler or warmer, this would be a great feature.
Interface similar to the scale slider and fully keyframeable. The program monitor should reflect changes in color temperature immediately. Simple, easy to understand, like using a set of Warm Cards after the shoot.
Retrieval of the color temperatures should not be difficult. It is contained in the metadata:
It works both with AWB and manual for the XF series. If the camera does not record these data, the effect should be greyed out.
I request your help to get this feature implemented, since it is pretty simple to implement, is a great help to have when doing multicam work, to fine tune different cameras or to change the atmosphere of a shot. It is far easier than the color correction effects we already have.
If you agree with me, please fill out a similar feature request. The more requests made, the greater the chance of it being implemented.
See Feature Request Form

Harm, I've seen instances of multi-cam shoot cameras that were identical models, using a clone of the settings which still resulted in differences in color. I've seen this blamed on the chips and the chip manufacturing process. I've also seen multicam footage from analog cameras that were supposedly balanced before shooting that resulted in shifts. And then, you have a situation where the atmospherics can alter the color, such as when one camera is close to the action, and the distant camera is shooting through fog or haze that has light shooting through it.
So again, while you can get in the ballpark with certain regimes, when it comes time to finish, you have to trust your eyes.
So, for my situation, it's not something that rises to the level of something I'd use enough to warrant a feature request.
My biggest issue today is that I'd love to see Pr offering bottom-up rendering, the way Avid MC offers it with its Render All option vs. Smart Rendering, which is top down. I don't like that I have to re-render entire sequences just because I made a little change to an upper layer clip. That, to me, warrants a concerted campaign or pitchfork mob.
But, I'll make a pact with you. If you'll request bottom up rendering, I'll request WB metadata support, OK?

Can I keyframe white balance?

I have a piece of footage that shifts white balance during the shot and i need to be able to keyframe the change as it happens, but the color panel does not allow me to do this? i know i can do it with hue/saturation filter but it's just not accurate enough. does anyone have any suggestions?
thanks...

I know, i was hoping the color correction would move more towards photoshop, not coral draw! no levels keyframe or even brightness contrast.. just hue/saturation and a bunch a useless funky dunky filters! I had a sweet spot a few hours ago where i thought i might be able to get things done on this and as soon as i got serious the app just cracked and fell about my feet on the floor. really don't want to go back to 7 but i think i'm going to have to. they've basically designed it for third party products to make money selling through the app store, and they're not out yet.

Image contains camera White Balance setting; LR 5.5 only shows "As Shot", "Auto", and "Custom"

I have a new, Panasonic DMC-GX7. I shot a bunch of photos as JPGs. When viewing their Exif data using Exiftool, I can clearly see the camera's White Balance setting, as well as the Color Temp Kelvin, WB Red Level, WB Green Level, and WB Blue Level. However, Lightroom 5.5 only shows "As Shot", "Auto", and "Custom" when I click White Balance under Quick Develop on the Library tab or WB under Basic on the Develop tab. Exiftool shows the Exif Version as 0230 and the Panasonic Exif Version as 0405. Is LR looking for the white balance information in some other field? Do I need to configure it somehow for my camera? I am new to LR (but not to image processing), so could use some help figuring this out.

The whole question is not so simple as converting to DNG. Yes DNG is openly documented, yes the file can be read, but that does not mean it can be correctly interpreted by other software in the future and the best you can then do is starting the PP of your images from scratch. Imagine a DNG with LR adjustments that in some years you open the file in another software, possibly non-Adobe. Even if the file can be read it will not look the same, as the Adobe specific developing instructions could not be strictly followed. Even if all software manufactures agreed on a common set of adjustments, let's say everybody had a Highlights slider and a Clarity slider and so on, which is unlikely, the results would still be different as the underlying algorithms would be different.
Disclaimer: I only shoot raw and firmly believe it is the best option, but one must be conscious it has some shortcomings related to the future of our images.

Working Without White Balance

Camera: Nikon D90
Adobe CS5 Design Suite
My goal is to work in Photoshop and Camera Raw without using White Balance.
As I understand, the camera stores within the raw NEF file what was seen by the camera chip without correction. For example, if the camera chip sees say 10,000 red photons, this is stored as say 200. If the camera chip sees 20,000 red photons, this is stored as 400. Hence, it is linear. Of course, the actual storage is as a Bayer array.
http://www.cambridgeincolour.com/tutorials/camera-sensors.htm
In theory, from the raw NEF file, one should be able to reconstruct the image that fell upon the camera chip.
On the camera itself, there are many camera White Balance settings. However, it lacks a "None" i.e. "As Is" setting meaning do not assume anything about the light source and make no correctons. Just record the photon levels and give me back the same image that was focused on the camera chip.
As an experiment, I shot a daylight scene using 2,500K (obviously, an extreme value) for the white balance. When I look at the raw file in Camera Raw, the "As Shot" shows a heavy blue tint. Hence, Camera Raw was using the 2,500K white balance selecting of the Nikon for the "As Shot" setting in Camera Raw. Looking at the Camera Raw basic panel White Balance drop down items, there is no "None". Hence, Camera Raw always assumes there is a White Balance and makes corrections.
Why would I want to do this? For example, I have multiple varied color light sources. I want to see exactly the image my eye sees. I do not want the camera making corrections since there is not a single light source for it to make assumptions about how to correct.
Is there a way in Photoshop or Camera Raw to show me the image without any white balance correction. Thanks in advance.

Petrula wrote:
Camera: Nikon D90
Adobe CS5 Design Suite
My goal is to work in Photoshop and Camera Raw without using White Balance.
As I understand, the camera stores within the raw NEF file what was seen by the camera chip without correction. For example, if the camera chip sees say 10,000 red photons, this is stored as say 200. If the camera chip sees 20,000 red photons, this is stored as 400. Hence, it is linear. Of course, the actual storage is as a Bayer array. In theory, from the raw NEF file, one should be able to reconstruct the image that fell upon the camera chip.
On the camera itself, there are many camera White Balance settings. However, it lacks a "None" i.e. "As Is" setting meaning do not assume anything about the light source and make no correctons. Just record the photon levels and give me back the same image that was focused on the camera chip.
The sensor is linear, but the sensitivities of the red, green and blue channels differ, so one must take these differing sensitivities into account when rendering the image from the raw data. As demonstrated by others, channel multipliers of unity (UniWB) do not yield the intended result. To obtain your intended result, empirically determined multipliers would be necessary. When used for white balance, these multipliers are chosen to that a white target will have equal RGB values in the rendered image. For your purpose, multipliers would need to be chosen so that the white target would assume the color of the incident light. In other words, if the white target were illuminated with reddish light, the image would be reddish and not white.
Why would I want to do this? For example, I have multiple varied color light sources. I want to see exactly the image my eye sees. I do not want the camera making corrections since there is not a single light source for it to make assumptions about how to correct.
Is there a way in Photoshop or Camera Raw to show me the image without any white balance correction. Thanks in advance.
On the camera itself, there are many camera White Balance settings. However, it lacks a "None" i.e. "As Is" setting meaning do not assume anything about the light source and make no correctons. Just record the photon levels and give me back the same image that was focused on the camera chip.
As an experiment, I shot a daylight scene using 2,500K (obviously, an extreme value) for the white balance. When I look at the raw file in Camera Raw, the "As Shot" shows a heavy blue tint. Hence, Camera Raw was using the 2,500K white balance selecting of the Nikon for the "As Shot" setting in Camera Raw. Looking at the Camera Raw basic panel White Balance drop down items, there is no "None". Hence, Camera Raw always assumes there is a White Balance and makes corrections.
Why would I want to do this? For example, I have multiple varied color light sources. I want to see exactly the image my eye sees. I do not want the camera making corrections since there is not a single light source for it to make assumptions about how to correct.
Is there a way in Photoshop or Camera Raw to show me the image without any white balance correction. Thanks in advance.
I infer that you want the captured image to reflect the spectra of the actual scene luminances (or more likely a metameric tristimulus match) rather than how you perceive them. The human visual apparatus exhibits chromatic adaption, whereas the sensor does not. The CIE xyz model assumes complete chromatic adaption and the color models based on CIE models need a white point to operate, so you are attempting to use ACR in a manner other than for which it was intended. There is an interesting exercise on the Stanford web site that shows how one can use a digital camera (the Nikon D70) in conjunction with a spectrophotometer to obtain spectrophotometric data from the camera. To recreate the actual spectra, two additional colored filters are required, but if one merely needs a metameric tristimulus match, perhaps only the three native CFA filters of the camera would be needed.
http://scien.stanford.edu/pages/labsite/2006/psych221/projects/06/clintonk/index.htm
Going back to ACR, experience indicates that if one wants to recreate the appearance of a colorful sunset or a candlelit scene (cases that exceed the limits of chromatic adaption), a daylight color balance works best. It would seem intuitively that an equal energy illuminant (CIE Illuminant E) would be appropriate. This corresponds to a correlated color temperature of approximately 5455K.
http://en.wikipedia.org/wiki/Standard_illuminant

White Balance Query

Whilst on holiday, I must have accidentally changed thw white balance on my camera to Tungsten, as when I came back, I had the Tungsten WB logo showing on my camera LCD panel.
I have managed to catch most of the images, but I am concerned I may have done this another time. Is there a way in Lightroom (1.4.1) to extract only those images with a Tungsten WB setting?
Ta
Colin

Are these black on white line art? Try using Levels or curves.

Bug Fix for White Balance Issue (When ?)

Dear Apple:
When can users expect a patch for the bug that "crept" into Aperture late in the development cycle that seriously effects the white balance tool?
This bug is obviously a major concern and issue for most professional-level photographers; and, quite frankly, prevents Aperture from being used in a professional capacity with regard to RAW decoding.
Cheers

Excuse me, John:
But, quite frankly I don't think you are in any position to tell the users of this form how they should feel. Most users, who happen to be high-end prosumers or professionals such as myself, have paid a great deal of money on a piece of software that was supposed to live up to certain, basic expectations. Unfortunately, that software did not. As such it cannot be used in a professional environment.
Subsequently, an update was provided to address all the concerns that users expressed. Unfortunately, that update created a major issue with regard to the white balance of RAW images. Yet again, this expensive piece of software is nearly useless in a professional environment.
Let me ask you this: "if you were a gardner and paid several hundred dollars for a lawn mower, only to discover that it cut your clients' grass unevenly, would you continue to use it? Would you continue to be patient after taking it into the repair shop only to have it still screw up your lawns? Would you not be on the phone with the repair shop constantly until it was fixed?"
Unfortunately, Aperture is a good idea that has a flawed implementation and that NEEDS to be addressed! So, I will continue to ask Joe and Steve and the others at Apple when will this piece of software actually live up to the expectations set forth by the company that produced it!

White balancing?

1.) In Camera Raw, if you set the white balance using the White Balance tool it changes the image, so if you set the White Balance again, it is now basing it on the new colors that were just adjusted. Is that a good idea? OR should you undo it to get the original colors if you are not happy with the white balance results before you want to try again?
2.) Is there a built in way to white balance directly in PSCS5?
Thanks.

1. So even if you you change the white balance multiple times and change the way the white appears, it is still sampling from the original file?
2. By clicking on white in PS with the graypoint eyedropper, is that automatically setting the white balance without having to do anything else with the levels?
Thanks.

White Balance / Levels

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