Answering the Question: Does it Matter If one adjusts in-camera White Balance if they are shooting RAW in Still Photography?

[BoltSnap]

QUESTION 1:

Does adjusting white balance in the camera (auto, manual, etc.) affect RAW files in still photography?

When you shoot in RAW, the white balance (WB) setting you choose in-camera isn’t permanently applied to the sensor data. Instead, it’s stored as metadata along with the file. This metadata acts as a guideline for how the image should be processed, influencing your camera’s preview and any in-camera JPEG renderings, but it doesn’t lock in the WB for the RAW data itself. This non-destructive approach means you have complete flexibility to adjust the white balance later during post-processing without any loss in image quality.


In practice, setting a white balance in-camera—whether on auto, preset, or manual—is mainly about getting an accurate preview and ensuring that your JPEG outputs (if you use them in addition to RAW) reflect your creative intent. When you open your RAW file later in software like Adobe Camera Raw, Lightroom, or another RAW processor, you’ll see the “As Shot” WB setting applied, but you can easily override it as needed. This gives you the best of both worlds: an immediate preview that helps with exposure and composition decisions, and the freedom to fine-tune the color balance later for optimal results.


QUESTION 2:

Is trying to get the WB right using a manual process of using a gray card not critical or very useful?

Using a gray card to set your white balance in-camera can be very useful, even if you’re shooting RAW. Here’s why:

1. Accurate Preview and In-Camera JPEGs:
   Even though RAW files store the white balance as metadata without “baking it in,” your camera applies the WB setting to both the preview and any JPEGs you create. A correct setting means what you see on your screen or viewfinder is closer to the final image, which is particularly helpful when making exposure, composition, or timing decisions in the field.
2. Consistency Across Shots:
   Using a gray card provides a reliable neutral reference in varying lighting conditions. This can help maintain a consistent WB across a series of images. While you can adjust WB later, starting with a known baseline can save time during post-processing and reduce the risk of introducing unintended color casts.
3. Efficiency in Post-Processing:
   When the in-camera WB is as accurate as possible, the “As Shot” setting in RAW processors is an excellent starting point. This minimizes the tweaking required later, which is especially valuable in fast-paced shoot environments or when working with a large volume of images.
4. Critical in Mixed Lighting:
   In challenging or mixed lighting conditions, a manual WB set using a gray card can be a safeguard. Even if you plan to adjust in post, having a precise reference helps ensure that the tones and colors of your image remain as faithful as possible to the scene.

In summary, while you can fine-tune white balance in post-processing when shooting RAW, using a gray card to establish the correct WB in-camera is far from trivial. It’s a valuable part of a disciplined photographic workflow if you aim for consistency and accuracy in your previews and final images.


Sometimes the extra effort in the field can significantly simplify your editing process later.

QUESTION 3:

Does the above apply when using a flash/strobe to light up the foreground also?

The same principles apply when using a flash/strobe to illuminate your foreground, even if the flash/strobe is your primary or only light source.

Here’s How It Works with Flash/Strobe:​

1. Metadata and Flexibility Remain Unchanged:
   When shooting RAW, the white balance (WB) setting is still stored as metadata, regardless of whether you’re using ambient light, flash/strobe, or a mix. This metadata dictates your in-camera preview and JPEG output, leaving your RAW sensor data untouched. Thus, you retain complete flexibility in adjusting WB post-processing, even under flash/strobe illumination.
2. Accurate Previews Matter:
   Depending on the flash/strobe unit, modifiers, or gels you use, a flash/strobe can sometimes introduce a color cast. A gray card shot under flash lighting allows you to set a custom WB that reflects the light conditions at the moment of capture. This ensures that your camera’s preview and any in-camera JPEGs show your intended accurate colors. This is particularly useful when your flash/strobe is the dominant light source for your subject, allowing you to judge exposure, contrast, and color balance more confidently.
3. Consistency in Mixed Lighting Situations:
   If you’re mixing flash/strobe with ambient light, the situation can get a bit more complex because the color temperatures of your light sources might differ. Shooting with a gray card under the specific lighting conditions (flash/strobe-only or mixed) lets you establish a consistent baseline. This consistency makes it easier to manage the two different lighting temperatures in post-processing.
4. Efficiency and Workflow Considerations:
   While RAW files give you the freedom to fine-tune WB later, having an accurate in-camera WB helps speed up your editing process. For instance, if the “As Shot” WB is already close to the true color temperature of your flash/strobe-lit scene, you might only need minor tweaks later. This is especially beneficial in fast-paced shooting environments or when dealing with large batches of images.

In Summary​

Using a gray card and manually setting your WB is still very useful, even when flash/strobe is used for the foreground. It enhances your in-camera preview and JPEG accuracy, ensures consistency across your images, and can reduce post-processing time by providing a solid, correct starting point. The benefits of accurately setting WB in-camera carry over, whether your subject is lit by ambient light, flash/strobe, or both.

The above is a public service announcement based on my research on this matter long ago. I believe that it will be helpful for most of you. Setting in-camera WB is applicable even when using RAW. Photographers adjust their settings accordingly when previewing the image they just shot (because the camera display shows a JPEG image, not RAW). It also helps reduce time spent in post-processing.

 

[Hoag]

I always shoot in RAW. I also always try to get the White Balance close when capturing my shot. I know that by shooting in RAW, I have a pretty wide latitude for adjustment in post. Having said that, I believe that the closer I come to getting it right in camera, the less work I have to do in post.

IMHO, there is another use for a "Grey Card" that totally contradicts my first statement but can be equally valid. If you take a pic at a given depth with a Grey Card in the image, then when you edit your images, most photo editing software has an "Eyedropper Tool" as a part of their White Balance Adjustment module. You could always take a picture of the Grey Card and then use the Eyedropper to set the white balance in post.

IMHO, setting the White Balance for an U/W photo is a case of the proverbial "More than one way to skin a cat". There is no single answer, find what works best for you and use that method.

 

[TostitoBandito]

IMHO, setting the White Balance for an U/W photo is a case of the proverbial "More than one way to skin a cat". There is no single answer, find what works best for you and use that method.

Yeah, this. I personally don't bother for still photography because I'm still gonna be doing the same steps in post regardless, like many others. Plus my camera unfortunately doesn't have the fastest/simplest custom white balance process (I have to do it for ambient light video and it's a PITA). The strobes I use are also around a 5000K color temp, so adequately lit shots usually don't need more than a very slight adjustment for my taste.

However, I think it could be an interesting exercise to grab a quick strobe shot of a grey slate (or my white fins) at each average working depth on a dive for reference, even if I don't actually set the WB in the camera. In post the WB settings keyed from those white/grey objects should translate to other images at that depth (I think), at least for macro and maybe some CFWA. I might try that sometime. For bigger wide angle shots like reef scenes though where strobe and sunlight is mixing at a longer distance than you can hold a slate, I feel like it might not work as well. There's almost always something suitably white to key off in these images though. Anyways, interesting tips and I'll see if it does anything for my processing workflow.

 

[tursiops]

If shooting and post-processing RAW, I see no point in bothering with WB in camera. The jpeg will never be used or possibly even looked at. One less thing to worry about. Even worse is putting a red/pink filter on the camera to compensate for loss of red light with depth. All it accomplishes is fewer photons hitting the sensor.
So my answers to the 3 questions are No, Yes, and Yes.

 

[mar2112]

You're over thinking it. For raw just set your WB to auto and make corrections as necessary when you post process.

My first UW camera only shot jpeg and I did the manual white balance thing. What a PITA. That really slowed down shooting.