WhiBal User Guide

White Balance ReferenceFor RAW and JPEGwww.WhiBal.com

Table Of Contents1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

2 ThePurposeofWhiBal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

3 WhiBal™CardFeatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13.1 CertifiedWhiteBalanceReference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

3.1.1 RAWWhiteBalanceReference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13.1.2 JPEGWhiteBalanceReference.....................................................1

3.2 TrueBlack™BlackPointReference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13.3 WhitePointReference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 .4 InchandCMScales(G6Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13.5 Focus/ResolutionTarget(G6Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

4 UsingWhiBalinaShootingSession . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24.1 SpecialConsiderationsWhenShootingJPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24.2 ShootingInaControlledEnvironment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24.3 ShootingOutdoors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34.4 AvoidingaFalseWhiteBalanceReference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

5 UsingWhiBalinaRAWWorkflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55.1 RAWPostProductionUsingRawShooter|premium2006. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55.2 RAWPostProductionUsingAdobePhotoshopCS2/BridgeandAdobeCameraRaw(Method1) . . . . . 95.3 RAWPostProductionUsingAdobePhotoshopCS2/BridgeandAdobeCameraRaw(Method2) . . . . . 13

6 UsingWhiBalinaJPEGWorkflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216.1 JPEGPostProductionUsingAdobePhotoshopCS2andtheWhiBalPlug-in . . . . . . . . . . . . . . . . . . . . . 21

7 RAWandJPEGQualityCompared . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Allcontents©2006PictureFlowLLC(allrightsreserved)UserGuideV1.0June3,2006WrittenbyMichaelTapesandJeffKrackeDesignbywww.JTVDesign.comInquiries/comments: mt@RawWorkflow.comSales/Support:www.WhiBal.com

RAWWorkflow.com is a division of PictureFlow LLC (a Florida Limited Liability Company)RAWWorkflow.com, WhiBal, “Make better pictures from your pixels”, TrueBlack, BlackPoint are trademarks of PictureFlow LLCRawShooter, RawShooter essentials, and RawShooter premium are trademarks of Pixmantec ApSPhotoshopisatrademarkofAdobeAllothertrademarksbelongtotheirrightfulowners.PictureFlowLLCisnotresponsiblefortypographicerrors.

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RAWandJPEGWhiteBalance

Reference

WhitePointReference

TrueBlack™BlackPointReference

Focus/Resolution

Target

InchandCMScales

OneCardGeneration6WhiBal

RAWWhiteBalance

Reference

TrueBlack™BlackPointReference

WhitePoint

Reference

FourCardGeneration4WhiBal

JPEGWhiteBalance

Reference

RAWWhiteBalance

Reference

WhitePointReference

TrueBlack™BlackPointReference

ThreeCardGeneration5WhiBal

JPEGWhiteBalance

Reference

1 IntroductionThisuserguideisdesignedtogetyouupandrunningwithyournewWhiBalG6WhiteBalanceReferenceCard.WhiBalTutorialvideosareorwillbeavailableontheenclosedCDoronlineatwww.WhiBal.com.

This guide shows RAW post production workflow in both RawShooter|premium2006(RSP)andPhotoshopCS2(AdobeCameraRaw).TheproceduresdescribedinthesesectionscaneasilybeappliedtomostRAWconverters.

We show JPEG post production workflow in Photoshop CS2 usingtheWhiBalplug-in,whichisincludedontheCDorcanbedownloadedfreefromwww.WhiBal.com.TheproceduresdescribedcaneasilybeappliedtomostimageeditorsthatsupportPhotoshopplug-ins.

2 The Purpose of WhiBalVerysimply,thepurposeofWhiBalistoprovideyouwithafast,easyandcosteffectivewaytoobtainaccuratecolorwhenyoushootwithdigitalcameras.Itdoesn’tmatterwhetheryoushootRAWorJPEG,theWhiBalisstillyourbestassurancethatyoucanreproduceaccuratecolorinanyshootingsituation.

3 WhiBal™ Card Features This section under construction

3.1 CertifiedWhiteBalanceReference3.1.1RAWWhiteBalanceReference

3.1.2JPEGWhiteBalanceReference

3.2 TrueBlack™BlackPointReference3.3 WhitePointReference3 .4 InchandCMScales(G6Only)3.5 Focus/ResolutionTarget(G6Only)

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4 Using WhiBal in a Shooting SessionPleaseNote:ThefollowingexamplesusetheonecardGeneration6(G6)WhiBal.TheproceduresarethesameregardlessofwhichgenerationWhiBalyouown.AlwaysusethelightergrayRAWwhitebalancereferencewhenwhitebalancingusingtheexamplesshowninthisuserguide.

Except as noted in the next section, shooting with a WhiBal is the same whether you shootinRAWorJPEGmode.Whileshooting,the3mostimportantconsiderationsare: a) set your exposure as accurately as possible, b) check that the WhiBal shot is glare free (see Section 4.1), and c) use your WhiBal to take White Balance “reference shots” periodically during your shooting session.

4.1 SpecialConsiderationsWhenShootingJPEGWhenshootinginJPEGmode,itisbesttosetthecamera’sWhiteBalancesettingtocloselymatchthescene’slightingconditions.Itwillrarelybeperfect,butthecloseritis,thebetterthattheWhiBalplug-incanadjustfortheproperWhiteBalance.

Settingthecamera’sWhiteBalancetoAUTOisnotrecommended,aseachimagecapturedwillhaveadifferentSceneWhiteBalance,becauseeachshotisbasedonthe cameras “best guess” and will change based on composition and other factors. (WhenshootingRAW,theWhitebalanceineffectatthetimeofimagecapturewillhave NO effect on the WhiBal referenced final image).

4.2 ShootingInaControlledEnvironmentIn our example session we photographed our model, Elisa, in a studio environment. These were some experimental shots from our session:

Note that the final shot is the WhiBal Shot (White Balance Reference Shot) to establishtheSWB(SceneWhiteBalance)forthissession.ThatisoneoftheadvantagesofusingtheWhiBal.Aslongasthescenelightingremainsthesame,theWhiBalshotcanbetakenbefore,duringorafterthesession.OnedoesnothavetoruinthespontaneityofthesessionbyhavethemodelholdtheWhiBalatthebeginningofthesession.InfacttheWhiBalshotcanbetakenbeforethemodelarrives,oraftertheyleave!

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ThisistheWhiBalshot:

4.3 ShootingOutdoorsOur other example sessions are the photographing of Sand Hill Cranes in an outdoor situation. Here are the photos from one of the sessions.

Again, the final shot is a WhiBal Shot to establish the Scene White Balance for thissessionwhichwasshotintheearlymorning.WhilerunningtokeepupwiththeCranes,therewasnotimeuntilafterthesessiontocapturetheSWBusingtheWhiBal.

As long as the SWB does not change significantly, the WhiBal shot can be taken before,duringorafterthesession.Thissessiononlylastedabout20minutesandthe light would not change significantly over that time to warrant taking intermediate WhiBalshots.

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ThisistheWhiBalshot:

NotethattheWhiBalwasnotphotographedalongsidetheCrane,nordidithavetobe.Sincethelightsourcewasacloudlesssky,thelightingwasthesameregardlessofwherethepictureswereshot,sotheplacementoftheWhiBalwasnotcritical.Inthiscase,justdroppingtheWhiBalonthegrass,checkingthestickerforglareandtakingasinglecapturewasallthatwasneeded.

If,however,thescene’slightingchangedduringthesessionduetocloudsorthepositionofthesun,additionalWhiBalshotswouldbewarrantedtoprovideSWBdataforphotosshotunderthoseconditions.

4.4 AvoidingaFalseWhiteBalanceReferenceLight reflected directly into the camera lens, or “glare”, causes an image to appear overexposed or “washed out”. If your WhiBal reference shots exhibit glare, they too will appear overexposed and cannot be depended upon to provide an accurate white balancereferenceduringpostproduction.

The highly reflective TrueBlack™ sticker on your WhiBal is an effective indicator of glare in your white balance reference shots, and can easily be seen in the viewfinder beforethereferenceshotistaken.

Whencapturingareferenceshot,tilttheWhiBalorchangeyourshootingpositionuntilthere is no light reflected in TrueBlack™ sticker. Then take your reference shot.

FalseReference(Glare)

TrueReference(NoGlare)

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5 UsingWhiBalinaRAWWorkflowThese are the basic steps to using WhiBal in a RAW workflow regardless of the cameraorRAWconverter:

TakeoneormoreWhiBalreferenceshotsbefore,during,and/oraftereachlighting“setup” or “circumstance”.

InyourRAWConverterofchoice,usetheClick White Balance Tool toclickontheGraysectionoftheG6WhiBalortheLightGraycardofpreviousversionWhiBals.ThisprovidestheRAWConverterwiththedatacontainingthecolorofthelightatthetimeofyourshootingsetup.WewillcallthisinformationtheScene White Balance(SWB).

UsingtheappropriatetoolsinyourRAWConverter,applytheSWBtotheotherpicturestakeninthatsamelightingsetup.

It’simportanttonotethatalladjustmentsmadetoaRAWimage,whitebalanceorotherwise, do not permanently change the original RAW file in any way. Adjustments arestoredbytherawconverterasaninstructionset,thatdescribeshowyouwishthefinal RAW conversion to look.

When you tell the RAW converter to save a converted file, by issuing a Save, Open orBatchcommand,theconverterappliestheinstructionsettotheRAWimageandsaves it as a separate JPEG or TIF file, leaving the RAW image data contained in the RAW file unaltered. In this way you can make further conversions, each with different adjustments or “looks” by simply readjusting the controls provided by the RAW converter.

5.1 RAWPostProductionUsingRawShooter|premium2006ThismethoddescribeshowtoapplyWhiteBalancesettingstoallimagesinasessionbefore selecting “keepers”.

Here is the uncorrected WhiBalshotopeninRawShooter|premium(RSP).

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2.

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SelecttheWhiteBalanceTool(theEyedropper)andclickonthelightGray(RAW)WhiBalcardtosettheSWBforthisreferenceshot.

Here is the WhiBal shot after usingtheWhiteBalanceTool.

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SelectthecopytoclipboardmenutocopytheSceneWhiteBalancetotheRSPclipboard,orusetheshortcutControl/Command+C.

SelectonlyWhiteBalanceontheselectiondialog,sothatonlytheSWBfromtheWhiBalshotiscopiedtotheRSPclipboard.

Since all of the files were captured in the samescenelight,pressControl+Atoselectalloftheimagethumbnails,thenusethePasteCommandfromtheClipboardmenu(orControl/Command+V)toapplytheSWBtoalloftheimagesfromthisshoot.

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That’s it. Now we can go ahead and make additional adjustments on any of the files fromtheshoot,knowingthattheproperSceneWhiteBalancehasbeenappliedtoall of the files, and that there starting color rendition is “accurate”. Of course creative color adjustments can also be made if a slight deviation from “accurate” better serves the creative intention of the photograph. By using “accurate” as the starting point, it ismucheasiertobringcreativevariationsintoplay.EspeciallyusingthesnapshotfeatureofRawShooter,onecanadjustandcomparevariouscolorrenditionsandcomparetheminstantly.

Here is a representative shot before and after white balancing:

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5.2 RAWPostProductionUsingAdobePhotoshopCS2/BridgeandAdobeCameraRaw(Method1)

Here is a session of Sand Hill Cranes openinAdobeBridge.Note that the final shotisaWhiBalShot(WhiteBalanceReferenceShot)toestablishtheSWB(SceneWhiteBalance)forthissessionwhichwasshotintheearlymorning.

SelecttheWhiBalshot,Rght-click(Option-clickinMac),andselectOpeninCameraRaw...toopentheimageinAdobeCameraRaw(ACR).

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SelecttheWhiteBalanceTool(eyedropper)andclickonthelightGray(RAW)WhiBalcardtosettheSWBforthisreferenceshot.

Here is the WhiBal shotafterusingtheWhiteBalanceTool.

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ClickDone to set the “Last Conversion” clipboard in ACR/BridgetoincludethecorrectedSceneWhiteBalance,closetheACRwindow,andreturntoAdobeBridge.

BackinBridge,sinceallofthefiles were captured in the same scenelight,chooseSelectAllfromtheEditMenu(orControl/Command+A)toselectalloftheimage files.

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Right-click(Option-clickforMac)ononeofthe files and select PreviousConversionfrom the context menu to apply the SWB toalloftheimagesfromthisshoot.Itmighttakesometimeforallofthumbnailsto reflect the changes, but you can continueworkingasthisproceedsinthebackground.

Here are the shots aftertheconversionisapplied.

That’sit.Nowwecangoaheadandview,cullandselectourkeepers,knowingthatthe Scene White Balance has been applied to all of the files. We can then make further adjustments on any of the files from the shoot

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Here is a representative shot before and after white balancing:

TheadvantageofthismethodisthatwhenyounowviewtheimagesinBridge,youwill be viewing the files with a proper color rendition which will make it easier to edit orcullyourkeepersandtrash.AlsowheneveryouopenanimageinCameraRawthe color will already be at a perfect starting point (or be the final color) because the proper White Balance has already been applied to ALL of the files in this shoot.

IfyouwouldratherapplyWhiteBalancesettingstoselectedimagesonly,tryMethod2 shown in the next section, which allows you to select the keepers first, then apply theWhiteBalancesettingsonlytotheimagesthatyouhaveselected.

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5.3 RAWPostProductionUsingAdobePhotoshopCS2/BridgeandAdobeCameraRaw(Method2)

Here is an alternate method of post production workflow using Photoshop CS2 and Adobe Camera Raw. In the previous section, we first applied the Scene White Balance(SWB)toalloftherawcapturessothatwecouldbrowse,cull,selectandedit color balanced files in Bridge. By having all of our files color balanced before the selection process, we can make better determinations of the” keepers” vs the “maybes” vs the “bit bucket”.

In this “Method 2”, we will make our selections first and then focus our attention on the “keepers” by bringing them into Adobe Camera Raw together, before applying the properSWB.

Here is the same Sand Hill Crane session open in AdobeBridge.Whileyoucannotseeithere,theWhiBalreferenceshotisthelastshotintheseries.Each “potential keeper” and the WhiBal reference shothavebeenassigneda3-starrating.(The3-Star rating is not significant. It could have been a 5-Staror2-Starratingdependingonyourpersonallabelingpreferences).

Set bridge to filter the sessionbyonlyshowingthe files that have been ratedwith3starsormore.

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Here is our session filtered to only show imageswith3starsormore.

ChooseEdit>SelectAll(orControl/Command+A)toselect all of the filtered files.

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Openalloftheselectedfiles In Camera Raw by Right/Optionclickingon any selected file andchoosingOpeninCameraRaw...

WhileusingtheratingsystemisonewaytopickaselectiongrouptobringintoCameraRaw,therearemanyothermethodstodosoaswell.Whateverthe“selection” means, this method shows the ability to pre-select a group of files and then openthemupsimultaneouslyinCameraRaw,ratherthan1atatime.

Here are all the selected files open inCameraRaw.Notethatallofthe3 star files are now displayed in a filmstrip format down the left side of the Camera Raw dialog box and that one or more of the files can be selected at thesametime.

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SelectyourWhiBalreferenceshot.Inourexample it is the last one in the filmstrip.

SelecttheWhiteBalanceTool(eyedropper)andclickonthelightGray(RAW)WhiBalcardtosettheSWBforthisreferenceshot.

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WhilekeepingtheWhiBalreferenceshotselected,addtherest of the files to the selection setbyclickingontheSelectAllbutton.

NowclicktheSynchronize . . .buttontoapplytheWhiteBalancesettingfromtheactivepicture(theWhiBalreferenceshot) to all of the selected files.

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ClickingontheSynchronize . . .buttondisplaysadialogallowingyoutoselectWhiteBalanceonly,sothatanyarbitrarysettingsfromtheWhiBalshot(ifthereareany)willnotbeappliedtotherestofthe selected files.

After the files have been synchronizedforWhiteBalance,thethumbnailsshowthatallof the files now have the SWB appliedtothem.

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NowthatourWhiteBalancesettingshavebeenapplied,youcanmakefurtheradjustmentsinCameraRaw;clickOpentoconvert the Raw files and edit theminPhotoshop;orclickDonetoreturntoBridgewiththeWhiteBalanceandothersettingsappliedasaninstructionset.

Here is a representative shot before and after white balancing:

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6 UsingWhiBalinaJPEGWorkflowThese are the basic steps to using WhiBal in a JPEG workflow with any image editing softwarethatsupportsPhotoshopplug-ins:

Setyourcamera’sWhiteBalancesettingtocloselymatchthescene’slightingconditions.

TakeoneormoreWhiBalreferenceshotsbefore,during,and/oraftereachlighting“setup” or “circumstance”.

Inyourimageeditingsoftware,usetheWhiBalJPEGplug-ineyedroppertoolstoclickonthegraycardandthewhiteandblackareasoftheG6WhiBalorthelightgraycardandthewhiteandblackcardsofpreviousversionWhiBals.ThisprovidestheWhiBalplug-inwiththedatacontainingthecolorofthelightatthetimeofyourshootingsetup.WewillcallthisinformationtheScene White Balance(SWB).

UsingtheappropriatetoolsinyourImageeditor,applytheSWBtotheotherpicturestakeninthatsamelightingsetup.

InJPEGpostproduction,unlesstheoriginalJPEGimagesarepreviouslyarchived,an adjusted image must be saved using a different filename so that the original “source” JPEG file is not overwritten. While not the quality of RAW, the original JPEG file is the closest thing you have to “As Shot” image data.

When adjusting JPEG files, always be sure that the original source files are protected by either keeping separate archived copies or by renaming your adjusted files when saving.

6.1 JPEGPostProductionUsingAdobePhotoshopCS2andtheWhiBalPlug-in

We will show the post production workflow in Photoshop CS2, but the process is similarinalmostanyImageEditorthatacceptsPhotoshopcompatablePlug-Ins.Thisexample assumes that you have downloaded the WhiBal White Balance JPEG plug-inandhaveinstalleditintoPhotoshop.

Here is a JPEG capture of some colorful surfboardstakenindoorswithanincorrectWhiteBalanceset.

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ThisistheWhiBalWBreferenceshottakenjustafterthecapture.

Here is the WhiBal shot open inPhotoshopCS2.

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SelecttheWhiBalPlug-InlocatedintheFiltersmenu:PowerRetouche>PRWhiteBalance(WhiBalOnly)…

Here’s the Plug-In dialog with a previewoftheWhiBalshot.

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YoucanzoomintotheWhiBalshotusingthe100/50/25/FitbuttonsthenpanaroundtolocatetheWhiBal.InthisWhiBalReferenceshotweused50%.

YouwillusetheeyedroppersinthePicksectiontoadjusttheWhiteBalancetotheSceneWhiteBalance.ClickontheLightGrayeyedropperandthenontheLightGrayWhiBalcard.

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ThepointatwhichyouclickontheWhiBalcardwillbemarkedwithacrosshair,andthe Light Gray check box will automaticallybechecked.

TheWhiteandBlackpatchesshouldalsobesetbyindividuallyselectingtheWhiteandBlackeyedroppersthenclicking on the applicable WhiBal patch. Because a JPEG file does not have the color range of a RAW file, in some cases samplingtheWhiteandBlackpatchesmaydegraderesultsbymaking the Black appear “splotchy”. If this is the case, simply uncheck the Black and/or White eyedropper’s check box, as is shown in this example.

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Here is the result after sampling the White andLightGraypatches.WehaveselectedDoubleintheviewdropdownmenusothatwecancomparethebeforeandaftereffectoftheplug-in.Asyoucansee,theWhiBalplug-inhasmadeadramticdifferenceintermsofWhite Balance, exposure and dynamic range.

Because we are going to process one file that will use this Scene White Balance, there is no need to save a Preset file. But if you wish to save the White Balance settingsforthislightingscene,justclicktheSave...buttonandsaveanappropriatelynamed WhiBal WB preset that can be “loaded” into the plug-in for any additional files thatwereshotinthislight.

Theplug-inremembersthelastsettingsused,whichishowthecurrentSWBwillbeapplied to our surf board shot. Before exiting the plug-in, click Applytpensurethatthecorrectsettingsarerememberedbytheplug-in.ClickDone to exit the WhiBal plug-in.

OpenthepictureofinterestinPhotoshopandopentheWhiBalplug-In.(Filter>PowerRetouche>PRWhiteBalance(WhiBalonly).

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TheWhiBalplug-inremembersitslastsettings,soasweopentheplug-intheadjustmentsarealreadymadebasedonthepreviousWhiBalreferenceshot.WehavezoomedinandpannedaswellassetthedoublemodesothatwecanseethebeforeandaftereffectoftheWhiteBalancesettings.

ClickApplytoapplythecorrectionstoourimage.

WecannowproceedtomakeanyothercreativeadjustmentswewouldliketothisscenewhitebalancedimageinPhotoshop(orwhateverimageeditorisbeingused).Remember to save the file with a new filename so that you do not overwrite the original JPEG negative, if you have not already archived the file.

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Aboveweseebefore(top)andafter(bottom)applyingtheSceneWBfromtheWhiBal Reference shot. The “after” JPEG is devoid of the color cast that plagued it, butbeingaJPEG,thecorrectioncannotbeperfectifbecauseofthequalityoftheoriginal.That’swhyitisbesttosetthecameratothebestpossibleWBsettingthatmatchesthelightingineffectatthetime.Itwillrarelybeperfect,butthecloseritis,thebetterthattheWhiBalplug-incanadjustfortheproperWhiteBalancewiththeleastdestructiveeffect.

In this case the color swing was quite large, so +20 of Saturation (Photoshop Hue/Saturation)wasaddedtobringthelifebackintothecorrectedcolors.Youcanseethat the color Hue is much better than the original JPEG and that the White has been broughtbackintoline.

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7 RAW and JPEG Quality ComparedBelowweseebeforeandafterapplyingtheSceneWhiteBalancefromtheWhiBalReference shot in our JPEG workflow using the WhiBal Plug-In. It is quite good, but in the third shot below we make the same adjustment to a RAW version of this file, and you can see that the RAW file provides far more latitude in which to adjust the White Balanceperfectly,withoutanydegradationtotheimage.ThatiswhyRAWisthepreferredshootingmethodforachievingtrulyaccuratecolor.

UncorrectedJPEGoriginal.

JPEGafterusingtheWhiBalPlug-IntoapplytheproperSceneWhiteBalancetoouroriginalJPEG file.

RAWFileafterWhiBalWhiteBalanceappliedinRAWconverter.