Salta al contingut principal

Adjusting White Balance in Lightroom

Lightroom white balance opener


Lightroom has a set of tools that you can use to adjust white balance in your images. To see these at work open an image in the Develop module. At the top of your Basic panel are the white balance adjustment tools.


White Balance Options


The dropdown list will show you some options for adjusting white balance – what is shown here will vary depending on how your images are captured. If you capture in raw then the white balance dropdown list will contain the same options as you have on your camera for setting white balance. If you’re capturing jpg images then there are fewer options – As Shot, Auto and Custom.


Lightroom white balance 1


On the left are the options for a raw image and on the right those for a jpeg image.


The Temperature and Tint sliders also have different units of measure depending on whether you’re working with jpgs or raw images. For jpg images both the sliders range from +100 to -100. If you’re working on a raw image then the Temperature slider shows degrees Kelvin from 2000 – 50,000 and the Tint slider ranges between + 150 and – 150.


Kelvin is a measurement of the color of light – daylight is around 5,500 degrees Kelvin. Lights we consider to be warm or pink/orange in color including tungsten globes are around 3,000 degrees Kelvin and cool lights which are blue in color such as overcast daylight are around 7,000 degrees Kelvin and higher.


Adjust White Balance


To adjust the white balance in the selected image you can select an option from the White Balance dropdown list to use to fix the image or you can use it as a starting point and then fine tune the result.


You can also manually adjust the Temp slider to add warmth or remove it from the image. Drag the sider to the left to add a blue tint to the image (to cool it down), or to the right to add a yellow tint to it to warm the image.


Use the Tint slider to balance out any excess magenta or green in the image. Drag towards the right to add magenta to the image cancelling out any green tint and drag to the left to add a green tint cancelling out any unwanted magenta.


White Balance Selector


You can also use the White Balance Selector to adjust white balance. You can select the tool by clicking on it or press W.


Lightroom white balance 2


From the White Balance toolbar under the image you can select options that make the White Balance tool easier to use. I suggest you deselect Auto Dismiss as you can then click on the image in various places to attempt to fix it. If you have Auto Dismiss enabled you’ll only be able to click once before the selector is dismissed so, if that fix isn’t perfect then you’ll need to select the tool again to attempt another fix. This is a cumbersome way to work so I prefer to disable Auto Dismiss and put the tool away only when I am done with it.


If you click the Show Loupe checkbox then you’ll see a 5 by 5 pixel grid beside the mouse cursor. The center point in the grid is the pixel that you are currently targeting and which will be used to adjust the image if you click. This grid makes it easier for you to pick the correct point in the image to adjust to. The scale itself can be increased or decreased using the Scale option on the toolbar.


At the bottom of the loupe itself are the RGB percentage values of the pixel under the cursor. These values tell you if the pixel is neutral or not. If it is neutral then the percentages of R, G and B will all be equal – if they are not equal then there is color in that pixel.


Lightroom white balance 3


To balance the image using the White Balance selector, click on a pixel that should be neutral grey – not white or black. When you do so, Lightroom will adjust the image so that the selected pixel is a neutral grey and, as a result, all the color in the image will change. At the same time Lightroom adds an entry to the image History for that adjustment. This means that you can wind back the history to return to an earlier white balance fix, if desired.


Lightroom white balance 4


You should be aware that adjusting image white balance is to an extent a subjective assessment – so there is no one value that is “correct”. There are, instead, a myriad of different results that can be achieved so look for one that is it pleasing to you. In most cases viewers prefer to see some warmth in photos as they are more pleasing to the eye if they are warmer rather than cool.


I find that a good approach to take is to experiment with the white balance selector to see the effect on the image by selecting different pixels to adjust to. Then choose the most aesthetically pleasing result.


Post originally from: Digital Photography Tips.



Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.


Adjusting White Balance in Lightroom







via Digital Photography School http://digital-photography-school.com/adjusting-white-balance-in-lightroom?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+DigitalPhotographySchool+%28Digital+Photography+School%29

Comentaris

Entrades populars d'aquest blog

15 Tutoriales CSS3 para mejorar tus paginas web

15 Tutoriales CSS3 para mejorar tus paginas web : Les dejo una pequeña recopilación de tutoriales CSS3 que espero sean de utilidad para ustedes, intentamos hacer una recopilación bastante completa para crear impresionantes diseños web con CSS3 y aprovechar las bondades de CSS3 incluso para aplicar efectos, son un total de 15 tutoriales CSS3 gratis . Crear menu dropdown con CSS3 Crear breadcrumbs con estilo Transiciones de paginas con CSS3 Crear timeline con CSS3 y jQuery Reproductor de video con HTML5, CSS3 y jQuery Crear efecto acordion CSS3 Aplicar degradado a texto Crear texto en curva con CSS3 y jQuery Aplicar textura a texto con Magic Pill Crear slider de imagenes con CSS3 y jQuery Rotar texto con CSS3 Crear menu vertical con CSS3 Crear formulario con HTML5 y CSS3 Crear efecto de imagenes apiladas con CSS3 Aplicar estilos para imagenes con CSS3  

Averiguar la Salud del Disco Duro, con Crystal Disk Info [Windows]

Averiguar la Salud del Disco Duro, con Crystal Disk Info [Windows] : El actual “cuello de botella” en nuestras PCs; es decir, donde todo el rendimiento de nuestra PC llega a estancarse , es en el Disco Duro. Si bien los procesadores han evolucionado considerablemente en velocidad / rendimiento, el RAM no sólo es más económico, sino más veloz, y las tarjetas de video siguen innovando con cada generación, los discos duros han permanecido idénticos desde hace años, limitados por la física. Y es que un disco duro tradicional sólo tiene un máximo de velocidad con el que puede girar (medido en revoluciones por minuto, o RPM) que, a su vez, limita la velocidad de lectura y escritura. En pocas palabras, a pesar de que nuestras PCs pueden procesar información mucho más rápido que hace 5 años, los discos duros siguen leyendo (y escribiendo) esta información prácticamente a la misma velocidad. Esto ha cambiado con la llegada de los SSD, los Discos de Estado Sólo que no están limitados por la velo...

Learn Composition from the Photography of Henri Cartier-Bresson

“Do you see it?” This question is a photographic mantra. Myron Barnstone , my mentor, repeats this question every day with the hopes that we do “see it.” This obvious question reminds me that even though I have seen Cartier-Bresson’s prints and read his books, there are major parts of his work which remain hidden from public view. Beneath the surface of perfectly timed snap shots is a design sensibility that is rarely challenged by contemporary photographers. Henri Cartier-Bresson. © Martine Franck Words To Know 1:1.5 Ratio: The 35mm negative measures 36mm x 24mm. Mathematically it can be reduced to a 3:2 ratio. Reduced even further it will be referred to as the 1:1.5 Ratio or the 1.5 Rectangle. Eyes: The frame of an image is created by two vertical lines and two horizontal lines. The intersection of these lines is called an eye. The four corners of a negative can be called the “eyes.” This is extremely important because the diagonals connecting these lines will form the breakdown ...