Graphics Programs Reference
In-Depth Information
Step Three:
In our photo in Step One, her skin looks
a bit reddish (well, magenta-ish if you
want to be technical), and the whole tone
of the photo looks kind of clammy, so it
definitely needs a white balance adjust-
ment. (
Note:
If you want to follow along
using this same image, you're welcome
to download it from
http://kelbytrain-
ing.com/books/LR4
.) We need to make
it warmer, so choose Daylight from the
White Balance pop-up menu and see
how that looks (as you can see here, her
skin actually looks somewhat better, but
she has fair skin and this looks pretty
yellowish, so it's probably too much yel-
low for her skin tone). The next two
White Balance presets down will both be
even warmer (more yellow), with Cloudy
being a bit warmer, and Shade being a
lot warmer. Go ahead and choose Cloudy
(just so you can see it), and now the whole
photo is much too warm.
Step Four:
If you choose either of the next two down—
Tung sten or Fluorescent—they 're going
to be way crazy blue, so you don't want
either of those, and Flash is pretty close to
Daylight, so it's out, too. Let's choose Auto
white balance (shown here). While it's not
perfect, it's probably the best of our built-in
choices (take a moment and try each of
those, just so you see how they affect the
photo). By the way, the last preset isn't
really a preset at all—Custom just means
you're going to create the white balance
manually using the two sliders beneath the
pop-up menu. Now that you know what
these presets look like, here's what I recom-
mend: First, quickly run through all the
presets and see if one of them happens to
be “right on the money” (it happens more
than you might think). If there isn't one
that's right on the money, choose the pre-
set that looks the closest to being right
(in this case, I felt it was the Auto preset,
but it's definitely
not
“on the money.”
She now looks a bit too blue [cool]).
Continued
