We recently photographed this image:
You have to be aware that
this scene was actually illuminated by two light sources:
- Sun or sun in overcast
- Sky in the shades
This means that the light has actually two different color temperatures.
In this case the global WB should be selected to correct for the main
light source (here the sun).
In the shadows we get quite a bit of blue shadow cast (often not
that easy to see right away on screen). We don't like the extreme blue
cast in our prints and always try to tone it down. See also this article or
our e-book DOP2000.
We show our refined technique at a 100% magnification crop (all screen
We added a hue saturation layer that
pumps up the blue to visualize the cast:
Show the blue cast
As said this shows the blue cast way
too strong but gives an idea where the blue cast resides. As shown
in our books we use selective Hue/Saturation to tone down the cast
(we have still the test Hue/Saturation layer on top to show the effect):
Blue toned down
We also like the nice side effect that
the shadows get a bit brighter if we tone down the blue. But this strong
removal might be a bit too strong and we may want only to limit the
blue reduction to the shadows. That is why we used our Tonality
Tuning Toolkit and created a mask to limit the Hue/Saturation
layer just to the shadow part of the image:
Reduced blue removal
Note: we often use the
same shadow mask to limit the effect of a noise removal layer to the
shadow part of the image only. These shadows can show a lot of noise.
Remember our Hue/Saturation test
layer still amplifies the blue a lot. Here is the final version
after we disabled the Hue/Saturation test layer:
Sometimes the difference is not as
impressive on screen as it can be in print.
Of course you have to be careful if other
blue objects are in your image (e.g. sky). Here you need to use masking
techniques to protect these areas.