white balance for jpeg in cs3

neastguy

is there one, I can find it if there is.. my pics are often kinda yellow... ex..



how would I go about getting more white's out of this jpeg... thanks..:scratch

BinaryFx

The correction is easy enough, although shooting with better WB or with raw camera data is obviously preferred over doing things in post on a JPEG. I may not go for clinically neutral, just not as yellow as the original.

There are many ways to go about this, perhaps a fast one is to use a Photo Filter adjustment layer set to say a cooling filter (80) preset at say 15-20% opacity with preserve luminosity active. This mocks the traditional colour filter placed over the lens of the camera.

A more "complex" method involves adding a curve adjustment layer, on the blue channel, click to set a control point on the quartertone and adjust it about 10% to make things more blue (curve control point input/output values: 191/216 or 25%/15%). Further control points or other values can obviously be entered. One can then change to the blending mode of the adjustment layer from normal to color blend mode to see if one prefers the edit without altering luminosity.

Or, one could blend both methods at 50% opacity, as each are similar but different. There are many possibilities!

If this is consistent in the shoot, one can batch correct the images with an action and the automate/batch command.

Hope this helps,


Stephen Marsh
http://members.ozemail.com.au/~binaryfx/

jfriend

neastguy wrote:

is there one, I can find it if there is.. my pics are often kinda yellow... ex..

how would I go about getting more white's out of this jpeg... thanks..

In post processing, this is pretty easy to fix in CS. Just open up a curve adjustment layer, switch to the blue channel and raise the center of the curve up like this to match your taste. Adding blue to the image will reduce yellow since blue and yellow are opposites. You can also move the right end if you want because this image has no pixels in the very right of the blue histogram.



The above curve achieves this result:

neastguy

wow, thanks for all the help, yet again

Scott_Quier

CS3 allows one to open the JPG in Adobe Camera Raw. From there, it should be quite easy to adjust the WB.

neastguy

Scott_Quier wrote:

CS3 allows one to open the JPG in Adobe Camera Raw. From there, it should be quite easy to adjust the WB.

dummy here....

Sam

Holy ACR Batman!!!!

I yust lerned sompten new!!!!!

THANKS!!!

Sam

Scott_Quier

FWIW and FYI - Lightroom provides the same tool to adjust WB in both JPG and RAW files.

Duffy Pratt

This was a few steps. First, white balance from ACR, assuming the nose and the foot of the plush toy are white.

Second, applied the green channel to the image in luminosity mode, at like 50%.

Third, the forehead, where dark, on the right side was still too yellow. I tempered it some with an RGB curve in color mode, working on the blue channel.

The area was still to yellow for my taste. So I went to LAB, and did a curve on the B channel. locking down the light part of the face and the white background. I brought the extreme yellows closer to the yellows in the rest of the face.

Finally, I did an AB overlay on the entire image, using the L channel (after overlaying it on itself and multiplying it) as a mask, at 33% opacity.

Duffy

colourbox

For a quick-and-dirty alternative to Lab mode tweaks, if the white balance in ACR 4.1 doesn't completely get rid of an over-emphasized color, you can use ACR's hue/saturation/luminance tab (not the controls in the first tab) to shift, boost/cut, or darken/lighten specific color ranges.

Duffy Pratt

colourbox wrote:

For a quick-and-dirty alternative to Lab mode tweaks, if the white balance in ACR 4.1 doesn't completely get rid of an over-emphasized color, you can use ACR's hue/saturation/luminance tab (not the controls in the first tab) to shift, boost/cut, or darken/lighten specific color ranges.

I tried that with this image. The problem I was having is that it was moving all of the yellows, when I wanted some of them locked. So the sliders weren't working for me. In LAB, I could lock down the yellow in the light portions of the skin, which were where I wanted them, and then dial back the extreme yellows in the dark parts of the skin.

If the ACR sliders would have worked, I definitely would have used them. Also, it seems that I almost never have to do these kind of adjustments anymore, with my own stuff starting in RAW. My guess is that ACR by itself would have been just fine for this image starting with it in its raw state.

Duffy

dmmattix

Duffy,

Check out Chapter 4 Page 164-169 in Kelby's Lightroom book. It shows how to reduce/increase saturation of individual colors in the HSL sub-dialog. You basically click on the concentric circle in the upper left part of the HSL section in the Develop module. This turns your cursor into a reduce/increase tool. You put the cursor on the color you want to increase or reduce and left click and drag up or down (increase or reduce). It is smart enough to isolate just that color and increase/reduce saturation.

This might be useful to someone anyway.

Duffy Pratt

dmmattix wrote:

Duffy,

Check out Chapter 4 Page 164-169 in Kelby's Lightroom book. It shows how to reduce/increase saturation of individual colors in the HSL sub-dialog. You basically click on the concentric circle in the upper left part of the HSL section in the Develop module. This turns your cursor into a reduce/increase tool. You put the cursor on the color you want to increase or reduce and left click and drag up or down (increase or reduce). It is smart enough to isolate just that color and increase/reduce saturation.

This might be useful to someone anyway.

That's interesting. Is it a Lightroom only function, or is there a way to mimic it in ACR with PS/Bridge? Also, is there any way to set the range of tones on which it works, or does it simply go with some default?

Duffy

arodney

colourbox wrote:

For a quick-and-dirty alternative to Lab mode tweaks, if the white balance in ACR 4.1 doesn't completely get rid of an over-emphasized color, you can use ACR's hue/saturation/luminance tab (not the controls in the first tab) to shift, boost/cut, or darken/lighten specific color ranges.

Its quick, its certainly not dirty. Lab is (at least if you're feeding 8-bit data). At least in LR and CR, everything is happening in high bit, linear encoded data (even rendered images which get converted) however, doing this all from Raw is the way to go. True, non destructive editing. And WB on Raw data is far more powerful and useful since half of all the data is contained in the first stop of the Raw data, something existing rendered images lack.

jensen photos

I found a good in between using a cooling filter and adjusting curves. For me, using the color curve tool usually results in disaster. So, going to CS3, I select image -> adjustment -> color balance. Pull the sliders to whatever result you want.

dmmattix

Duffy Pratt wrote:

That's interesting. Is it a Lightroom only function, or is there a way to mimic it in ACR with PS/Bridge? Also, is there any way to set the range of tones on which it works, or does it simply go with some default?

Duffy

Duffy,

I pulled up a CR2 file in ACR and went to the HSL section. I did not see anything like the function I mentioned from Lightroom. Maybe some ACR wizard knows where it is. I know of no way to define the range of tones. I suspect it is just a set narrowing of the tonal ranges from the wider ones offered in the HSL adjustment dialog.

I am just getting more into Lightroom now. I am debating buying the Evening book (which is probably a lot more technical than Kelby) or waiting until the next version release or maybe a Second Edition by Evening to cover more than V1.0. I know there is a update in PDF that covers the differences but I just like reading it all together...

Regards,

Mike

Duffy Pratt

The books I've seen that cover ACR do, at best, little more than explain what the various controls do. I've seen other materials, mostly on the web, which show some more non-obvious (at least to me) uses of some of the controls, like the HSL sliders and the split toning. The functionality and flexibility of the RAW converters is increasing so fast, and there is such competition in the field, that I expect that all the books on the subject will be completely outdated in a couple of years, at most.

Duffy