Want to take image, white balance, exposure of series...

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<p>You still here? <br /> This is yet another reason why it's difficult to take some of your text seriously. After all, <strong>you</strong> did write: I will bow out.</p>

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<p>I said I'ld bow out giving advice since I and others here aren't getting all the information you are privy to through your email exchanges with Richard. I didn't say I wouldn't ask questions. Besides I like seeing how "prickish" you come across online. It's so different from how you are in your YouTube videos.<a name="00dvpj"></a></p>

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<p>What you wrote Tim, exactly was: You are the expert and I will bow out.</p>

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<p>I agree with the first part, expected the 2nd. That's what one gets, expecting you to be good to your word. </p>

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<p>Besides I like seeing how "prickish" you come across online</p>

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<p>Just the opposite of <em>prickish</em>, nothing pleases me more than making you look silly. <br>

"<em>Wise men speak because they have something to say; Fools because they have to say something</em>". -Plato</p>

<p>Tim, don't bow out. I want advice on information for change of WB back to camera FIRST. If not, automated batch in PHOTOSHOP next. I get a repeatable value that way. If that can be referenced back to BRIDGE would also work. If that can be referenced back to LIGHTROOM, and I can use the lightroom image information back to PHOTO SHOP, I can live with that.<br>

As to four cameras, the d750 is the prime camera, 2 x d700 are for 1) in your face tight portraits, and 2) wide wide angles. The d90 was for overhead shots. Each of these different SD cards ARE processed to individual folders and therefore can be referenced back separately. This needs only the same grey card + color/grey scale for each camera body/lens combination, and I will have the different information in each file for each combination. (see picture I posed of chair with grey card etc.).<br>

That is why I can program the basic info for each combination separately and therefore unique to each camera lens combination.<br>

Richard</p>

 

You will be better off creating a custom camera profile for each camera using the ColorChecker Passport system, for use

in either ACR or Lightroom, and then shooting the same WhiBal (or similar) reference target with each camera. Creating

a custom profile for each camera will (within the limits of the camera) will balance the color response of each of the four

cameras. Merely doing a custom WB setting in each camera does not do that.

<p>Richard. You stated here and elsewhere you were using ACR and CS5. The <em>assumption</em> therefore is you are capturing raw data. If that is not the case, we need to know. Otherwise, the facts are this:</p>

<p>Raw has no WB whatsoever. It's raw. You can set <strong>any</strong> WB value on the camera and it doesn't affect the raw data at all. You can and should set WB when rendering this raw data. Rendering is the part where ACR produces the TIFF, JPEG, PSD from the raw plus the instructions you ask for, in ACR, prior to selecting "Open".</p>

<p>You can set any value ACR allows for WB at any time on the raw. Once the image is rendered, the toothpaste is out of the tube! You've baked that WB into the data. It's darn near impossible to change this! That means the edits you apply after rendering affect the data, the color and the results quite differently than when you specify WB with the raw! <strong>That's a critical point</strong>. Yes, you could attempt something like "<em>Match Color</em>" afterwards in PS but it isn't going to produce the same results visually, numerically to the rendered data as it would IN the raw converter. Let alone all the time it would take to open 899 TIFFs, full rez, apply the edit that will not look so good and save that data. That's pointless in two respects: the quality and options you have to set WB and the huge time it takes to do so. So again, this has nothing to do with accuracy in terms of using ACR. It has everything to do with options and speed! The time and place to set WB is on the raw data, in your case, in ACR.</p>

<p>The WB numbers you see are initially meaningless! I explained why before Tim's rant. You could see a "<em>As shot</em>" for camera A that's different for camera B. Even if you shoot the same scene! You can toggle the DNG camera profile and, the WB values can change! The <em>As Shot</em> value is simply a suggestion. The camera isn't a tool that can correctly define CCT values and again, the values vary.</p>

<p>What you need to do is setup your studio with something like a Macbeth color checker or similar reference target. Shoot it with your stobes with each camera body. You ideally want optimal exposure for raw as like setting WB, it's not something to '<em>fix</em>' in Photoshop. Ellis has provided very sound advise and adds info on custom camera profiles which is very useful.</p>

<p>You need to then use maybe the WB eyedropper and set it to produce a result you desire. It may or may not be neutral, that's subjective. You could just tweak the Temp and Tint sliders. You may very well see different results from the various camera bodies too. At some point, you'll want to create a preset of the WB for each camera. <strong>IF</strong> you're really lucky and the stars align, each camera will have the same setting but don't bet on it. IF that's the case, and you wish to batch process the presets in ACR, it's critical you examine the differences between applying a <em>relative</em> vs. an <em>absolute</em> sync settings! View the URL I provided by Julienne Kost. IF absolute application doesn't work for you on all images, you'll have to either do the batch sync of WB per camera body OR look into using Lightroom which CAN produce a relative adjustment to all the images.</p>

<p>IF you don't believe that WB should be set in the raw processor, do this test:<br /> Set your camera to shot a raw + JPEG and set the WB to Daylight. Shoot inside under tungsten. Examine the awful yellow appearing JPEGs. Try fixing that in Photoshop let alone matching the '<em>fix</em>' if you can, using <em>Match Colors</em>. With the raw, one click, or a few tweaks of the Temp slider, you've got the WB you desire. Because it's raw data AND because you applied the WB to that data when it was raw! You can't do this with a baked, rendered image.</p>

<p>Yes shooting RAW.<br>

I was trained in photography when there wasn't a computer yet. And worked in color dye transfer labs and remember how difficult it was to get color on paper to a perfect state. But I remember the color correction filters I used to use in bright sunlight, light overcast, to shade with Daylight Kodachrome. Those allowed me to tweak the results in camera so the image would be correct. My filter did the trick. <br>

Now in digital, I want that same tweak that those filters gave me. That's all, but this time from the corrected image to the camera or two the automated batch conversion.<br>

Thanks for your help,<br>

Richard</p>

<p>Ellis, that is exactly what I plan on doing for each camer/lens. But first I have to know how to transfer it to 1) the camera, 2) and automated batch process. I have separated each of the files for each of the camera/lens/situation; so then the model holds up my gray card+color card at the start of each group then I can know that I need how I should change in camera/lens etc. to be right on for not only exposure (which I have) and value for White Balance that I need to correct.</p>

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<p>I was trained in photography when there wasn't a computer yet.</p>

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<p>So was I.</p>

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<p>Now in digital, I want that same tweak that those filters gave me.</p>

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<p>You can filter your lights, your lens but the raw data is the raw data and still has to be rendered. It's not really a color image (yet); think of it more like a grayscale file. <br /> http://www.digitaldog.net/files/raw.jpg<img src="http://www.digitaldog.net/files/raw.jpg" alt="" /><br /> Think of the raw like three <em>B&W</em> images. A tri-color process if you will. <br /> The bottom line is, you should be doing this on raw data, not rendered data afterwards. For both speed and flexibility in producing the results you desire. There really is nothing to tweak in the camera for WB for raw. You CAN filter your lights so they all match; useful. You could filter the various lens and camera bodies too but for WB, you just need to dial in a value, a number, for the WB rendering. </p>

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<p>But I remember the color correction filters I used to use in bright sunlight, light overcast, to shade with Daylight Kodachrome. Those allowed me to tweak the results in camera so the image would be correct. My filter did the trick</p>

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<p>Trying to match different digital cameras would be like using in the film days Fuji Velvia, Kodachrome and Kodak Portra and pretending matching results</p>

"Ellis, that is exactly what I plan on doing for each camer/lens.

 

But first I have to know how to transfer it to

 

1) the camera"

 

That isn't going to happen unless you want to write all new code for each's umage processing engine that will allow for

that. On top of that I dont think you need to do that because creating custom presets in Lightroom that incorporates

acustom camera profile, white balance setting, along with all other Develop module settingsis very straightforward and

can be applied when importing from each specific camera.

 

 

" 2) and automated batch process. I have separated each of the files for each of the camera/lens/situation; so then the

model holds up my gray card+color card at the start of each group then I can know that I need how I should change in

camera/lens etc. to be right on for not only exposure (which I have) and value for White Balance that I need to correct."

 

As i wrote, once you create a custom preset it can be applied to a batch of images. Either during the import process or

once they are in your Lightroom catalog and library.