Whi-Bal vs. Gretag Macbeth ColorChecker
Mrs F
Registered Users Posts: 164 Major grins
I was all set to purchase a set of Whi-Bal white balance reference cards, but I'm hesitating because I read a few reviews that said the white card and black card have been eliminated and replaced by a paper label on the gray card. Some of the reviewers were complaining that it's a cheaper-made product for the same price (about $30). I know there are a lot of happy users of Whi-Bals on DGrin. Maybe the change is no big deal? :dunno
Then last night I was reading in Photoshop Restoration and Retouching by Katrin Eismann that after doing numerous comparisons, she recommends the Macbeth ColorChecker as the ultimate reference for adjusting white balance during RAW processing. She mentions the Whi-Bal as a valid substitute as sort of an afterthought. I really respect Eismann's talents and opinions, so I was ready to run out and buy the Macbeth Mini ColorChecker. However, at $60, I'm rethinking that idea. Is there anyone out there using the Gretag Macbeth ColorChecker for adjusting white balance? Is it the ultimate reference? I'd appreciate some input from any one that has a Gretag Macbeth ColorChecker.
Then last night I was reading in Photoshop Restoration and Retouching by Katrin Eismann that after doing numerous comparisons, she recommends the Macbeth ColorChecker as the ultimate reference for adjusting white balance during RAW processing. She mentions the Whi-Bal as a valid substitute as sort of an afterthought. I really respect Eismann's talents and opinions, so I was ready to run out and buy the Macbeth Mini ColorChecker. However, at $60, I'm rethinking that idea. Is there anyone out there using the Gretag Macbeth ColorChecker for adjusting white balance? Is it the ultimate reference? I'd appreciate some input from any one that has a Gretag Macbeth ColorChecker.
C and C always welcome.
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Comments
You may be +/- 50 K on either of them, in a variety of lighting conditions, but that's just no big deal, given there's no real certification for "absolute right" color temperature anyway -- often people want things a bit warmer than true.
When I was on the trip to Antarctica, a bunch of the folks did some comparisons of various white balance aids -- Whibal, GMB color checker, and the snap-on lens thing that I have (sorry, name eludes me). These were checked against ambient light readings from a GMB spectrophermoter. The Whibal tended to be the most accurate, at say +/- 30K, the GMB was +/- 50K, and the lens snap-on was +/- 100K (also the most expensive). I think either the Whibal or GMB would be fine.
Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum immane mittam
http://www.mcneel.com/users/jb/foghorn/ill_shut_up.au
Thanks CatOne. That's great information. It seems to me it would make sense to just buy the less expensive item.
Kari
Spectrophotometer?
Yep. Sorry, bad latin.
The thing that actually measures the incoming light and tells you want it is. From Gretag Macbeth (I'm going to get carpal tunnel from typing that damn name ;-)
The Macbeth card is ideal as a color reference. Not sure I'd say its #1 for a white bal card as there's one that's far more spectrally neutral and has a very, very high L (lumanice) value. Not inexpensive but this is the best product I've measured with my EyeOne Pro Spectrophotometer for use as a white balance product:
http://www.babelcolor.com/main_level/White_Target.htm
Author "Color Management for Photographers"
http://www.digitaldog.net/
Andrew Rodney, Welcome to dgrin.
The White Balance target you linked seems to be very desireable.
Enough so that I ordered one:D
It is small, lightweight, and seems spectrally ideal. More accuarate than the WhyBal card I already possess, but the WhyBal is larger and heavier to carry in the field. And apparently less accurate as well.
Thanks you for this link and information.
Moderator of the Technique Forum and Finishing School on Dgrin
http://www.luminous-landscape.com/tutorials/expose-right.shtml
What I do with this target is take an Ambient reading using a good meter and bracket shots with this target. Then in my raw converter (ACR or LR) I examine the highlight values with the converter are my default looking for images where it is just shy of blowing out (254/254/254 would be ideal but you may be a few points lower). That's the correct exposure! Compare that with what the meter in camera suggested. You can then shoot images using this new exposure compensation, then, build a LR or ACR preset to bring the images into the converter so they look 'normalized'. That is, you may find that you are now 'over exposing' the image 2 stops compared to what the in camera says it should be. This will of course look awful on the LCD (can't do anything about that, this is the JPEG representation built by the camera from the Raw, something you're not doing). But in LR, if the image appears too light, import using this normalization preset, the image will not look over exposed but just right. Plus you've got better data in the shadows.
Author "Color Management for Photographers"
http://www.digitaldog.net/
Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum immane mittam
http://www.mcneel.com/users/jb/foghorn/ill_shut_up.au
Andrew,
I understand the theory and most of the practice of shooting to keep the histogram to the right, since the data is strongly encoded in the higher ( whiter) parts of the histogram. I will keep this in mind in learning to use the device you mentioned in your previous post.
Moderator of the Technique Forum and Finishing School on Dgrin