I have a photo i am enhancing in which my point of focus at center (an arch structure) is being colored by artificial holiday lighting and there are sodium-vapor street lamps surrounding it on adjacent streets with the foreground dark asphalt and objects (I used a wide angle) having a yellowish hue. I want to know what is the best way to localize the center arch, leave that with it's own adjustment (of 5600K) and bring down the rest of the image with the yellow-orange tinge down to 2500-3200K (or otherwise have them look like nice xenon or white fluorescent lamps) with good blending (so the intersection of both lighting does not look stilted) and while keeping the same tonal range. Global adjustments are just not doing it for me here. Layers and blending? Gradients? What would you recommend? Please post anything that also relates to adjusting for conflicting lighting locally and any limits on this.
We have a bunch of shots taken using natural light - the shots all have completely different exposure and white balance adjustments.
Now that the shots feel like they've been shot at the same time of day (and on the same day) we'd like to start adjusting the white balance accross multiple shots - but use the current white balance/exposure from each individual shot as the starting point - not reset the adjustments.
Kind of like baking the current settings or making adjustments on top of current adjustments - or make new adjustments relative to the current adjustments.
I just downloaded a trial version of Lightroom 5. I want to change the white balance (temp and tint) using local adjustment brush but when I take a new brush, all I can change is
I use [k] to get me into local adjustments, and [z] to zoom in, how I can pan around without deselecting the local adjustments (which loses which local adjustment I have selected). I tried [fn]+[arrow key] without any luck. This is very disruptive for me.
When doing heavy highlight or exposure recovery using local adjustments on RAW files I can see a demonstrable difference many times between using automask and not using it. When automask is on it often seems to produce noise or grain type artifacts with tiny black dots mixed in to an otherwise uniform light area when making a heavy adjustment. If I do the same local adjustment with automask disabled the results seem markedly better with the changes being much more smoothly applied. Is this a normal artifact of using the automask?
White balance. Shooting With my Canon 5D, shooting RAW, I choose Auto White balance. At the end I shoot a Gray-Card with the same Lighting that I had. Later I open the image with the Gray-Card inside the camera raw, and I select it with the white balance tool. then I get the perfect White Balance. I personally like the Gray-Card which has from very light gray to very dark gray. I'm still using Photoshop CS5. Now there are many products out there such as Color Checker. How I can get better color Balance or Color Correction using those 3rd party products. Also My Monitor is calibrated using Data Color spydare 3Elite.
Is there a way to quickly white balance pictures in photoshop? I know with other products you can click on something that is white or gray in the photo and it will automatically white balance the photo.
I have read several article on the ability to us a gray card in a photo and then adjusting the white balance in Camera Raw or CSII. How do you achieve this?
I shot some photos (jpg's) outdoors with the white balance set on tungsten. I have access to PS CS and can navigate it pretty easily, but have little photographic experience and don't have a particularly good eye for color adjustments.
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.
My preferred medium for photography is underwater, so it is crucial the white balance is set to the area and depth of the shot. When I use Photoshop CS3 to develop the shot in RAW, as soon as I click on to the shot in bridge it instantly reverts back to the default white balance, In UK fresh waters this usually means a strong green cast.
I am still baffled with matching the color - tint .
If I copy paste something on another image . I get crude red -green-blue + - world adjustments . I sample the color numbers to match still no luck . The saturation / Hue adjustments are semi helpful .
I end up with a flat gray bluish skin tone , Is their a color temp lighting corrector , talking from my kodak paper-photo printing 70s flashback years.
click path to fine tint / color correction for skin tones?
I'm basically trying to match the colour of the single jar shot to that of the jars in the colour reference file (the one with loads of jars), so it looks as if the single shot could be a closeup from the group shoot.
There's a batch of these single jar shots so I was looking for an adjustment I could do once and then apply uniformly to the rest.
My attempt was to create a series of adjustment layers that worked for one image and then apply that to the rest, but I couldn't come up with the correct combination of adjustments that matched the reference.
I'm confident with doing colour adjustments on the items inside the jar so you needn't worry about that, it's more the overall white balance / slight lessening of shadow underneath the shelves / shine of the glass jars / warmth and cleanliness of the picture's tone.
The single shots will cycle through as a GIF, so it's important to look as if it's just the content of the jars changing, rather than the entire shot - hence needing a single solution that was applicable to all pictures.
I have this photo taken in tungsten light, but there remain reflections from the outside light (the sun) which of course appear blue-magentish.
I thought maybe mixing with yellow-green could eliminate them. Actually I only need to decrease their saturation and thus become like other whitish reflections..
What I want to be able to do is click on an area of a photo, and then tell paint.net that I want this to be WHITE - and adjust the rest of the photo accordingly. ie, an object photographed on a white background that is tinted due to incandescent lighting etc.
I know this feature exists in photoshop elements. Is it available in paint.net?
For Nikon D50 cameras Adobe Creative Suite 6 does not read "As Shot" white balance data whether it's specified or not. It defaults to "Automatic". We have the problem only for Nikon D50 and only in Photoshop CS6, Adobe Camera Raw 7.3 and Photoshop Lightroom 4. (Not in CS5. Not for Nikon D5100 or D7000 or Canon S95) .
There is a more detailed posting at photoshop.com.[URL]...
I've got hold of some Welding glass to use as an ND filter on my Fuji HS20. It arrived today and works a treat. I do however now have a new issue that this has caused. I've set a custom white balance on the camera to counter act the tint from the glass. This now produces the correct colour on my jpg photo's however the RAW files have the wrong colour tint. When I open them in photoshop elements 11 I get the CAMERA RAW application. The white balance is set to 'AS SHOT' however the Tint is at +150. I'm guessing my problem is that the tint needs to be more than +150 and CAMERA RAW is limiting it. Does this mean I am now limited to using JPG's when I use this glass as an ND filter, or is there a way I can get rid of this limit to the tint on the white balance
I'm new to Lightroom so bear with me. My problem lies in the import process: each time I import, a yellow tint (tungsten WB) is added to each photo, as if the white balance is being changed. I know that thumbnails are created in camera, but the photos look fine when Lightroom is "loading" them on the library screen, it is only when the "loading" message goes away that they look too yellow. I don't want to apply an import preset because I fear that each photo's problem is unique. When I use quicklook in finder, the images look fine. When I export as a jpeg from LR, the problem persists. Here's what I'm using:
I've read that this could be caused by a corrupt color profile, but I'm not sure how to change this on a Mac and if it's appropriate to apply sRGB as a monitor profile.
I just bought a new computer and i have been running LR5 on a Lenovo b540 aio pc. i had no issues on this machine other than slow processing and lag due to insufficient memory and processor. my new machine is a standard desktop with a seperate monitor. when i installed LR5.3 and import files, they turn out to be a very "manilla envelope" color but not until after importing them. i dont understand why this is happening. it is probably something very simple that i am overlooking.
on my LR 3. IT used to be right under "Histogram" and above "Tone Balance" in Deveolop and now it is simply gone! I dont know if it was because of software updates or ?
LR3.4.I have a whole selection of photos that were taken at an event where there was 2 types of lighting, so the people in the back of the shots have a warm orangey glow and the people at the front have the day light. What would be ideal option to adjust the white balance on 2 separate areas, but I can't seem to find this in Lightroom? is it possible or will I need to export 2 versions and merge in photoshop etc?
Is it possible to change a setting or preference in Lightroom so that the white balance selector tool will give a 0-255 value reading, instead of a 0-99 value? Having that option would allow users to better correlate their readings with what will show up once the images is analyzed with Photoshop's eyedropper tools and info window.