Back to Basics – Part 5C: Exposure: Shaping Light and Tonal Balance Underwater in Lightroom

Exposure is about shaping light underwater, not just making an image brighter.

Back to Basics – Part 5C

Exposure, Highlights, Shadows & Tonal Balance Underwater

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Introduction: From Color Correction to Light Control

In Part 5B, we focused on white balance, correcting the dominant blue or green color cast characteristic of underwater photography. Once white balance is dialed in, your image usually looks more natural but often still feels flat, dark, or lifeless. 

That is normal. 

White balance fixes color accuracy. Exposure and tonal balance fix how light feels in the image. 

This is where many underwater photographers make a critical mistake. They try to fix exposure problems before color, or they push sliders randomly until the image “looks brighter.” The result is often blown highlights, muddy shadows, noisy backgrounds, and unrealistic contrast. 

In Part 5C, we slow things down and learn how to see light underwater, then shape it intentionally using Lightroom’s tonal controls. This is not about making images bright. It is about making images readable, balanced, and believable.

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Why Exposure Is Different Underwater

Underwater light behaves very differently from the light you're used to on land. 

Several factors operate simultaneously, making the environment challenging for photography. 

Water absorbs light quickly, especially reds and yellows, which means those colors fade fast as you go deeper. Meanwhile, blue and green wavelengths predominate in the scene, giving underwater images their characteristic hues. Additionally, sand, fish scales, and sunballs reflect light in unpredictable ways, further complicating the exposure. Reefs, wrecks, and divers often sit in deep shadow, adding to the challenge.

Your camera’s meter isn’t designed to handle these conditions; it only detects brightness values and tries to average them into a neutral midtone. 

That’s why underwater photos often result in the foreground underexposed, the area near the surface overexposed, and a lack of clear separation between subject and background. 

The main aim when exposing underwater shots isn’t to achieve perfect exposure straight out of the camera but to maximize recoverability. 

You want to capture as much usable tonal information as possible so that Lightroom or any other editing software can help you shape and refine the image later. This approach provides greater flexibility and better outcomes.

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Understanding the Histogram Underwater

Before adjusting any slider, you should examine the histogram.

Underwater histograms often show strong blue dominance, compressed midtones, and highlight spikes near the surface. This is normal and expected.

The histogram tells you what the image actually contains, not what your eyes think they see.

Underwater histograms typically show:

• A strong blue channel dominance

• Midtones compressed toward the left

• Highlight spikes from sunballs or reflective sand

• Shadow clipping in reefs or wreck interiors

An important mindset shift to keep in mind is that if your histogram appears "wrong" when compared to topside photography, this is completely normal and something to expect. What is important is whether the information in your histogram has been clipped beyond recovery, which could affect the quality of your image.

What to Watch For

• Clipped highlights on the right edge, especially in the blue channel

• Crushed shadows on the left edge

• A histogram with no separation, indicating a flat tonal range

The histogram is your truth meter. Trust it more than the preview.

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The Correct Order of Tonal Adjustments

This order matters, especially underwater.

Always adjust in this sequence:

1. Exposure

2. Highlights

3. Shadows

4. Whites

5. Blacks

Each slider builds on the previous one. Skipping steps or jumping around creates chaos, not control.

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Exposure: Setting the Midtone Anchor

Exposure sets the midtone anchor. Too bright and highlights are lost, too dark and shadow detail disappears.

The Exposure slider primarily controls the brightness of the midtones in your image. Keep in mind, it doesn’t selectively brighten shadows or protect highlights, so adjustments can affect the entire tonal range. 

When shooting underwater, typical exposure adjustments usually range from +0.20 to +0.60. The exact setting depends on factors like depth and lighting conditions, so it’s helpful to experiment a bit to get just the right balance.

What Exposure is good for:

• Lifting the overall image into a workable range

• Establishing a baseline before refining details

What Exposure is not good for:

• Fixing dark reefs by itself

• Recovering blown sunballs

• Correcting poor lighting technique

If raising exposure turns your water gray or cyan, you have gone too far.

Set exposure conservatively. You will recover details later with targeted sliders.

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Highlights: Protecting the Water Column and Sunballs

Highlights should be protected first. Recovering sunballs preserves smooth water gradients and prevents harsh transitions.

Highlights control the brightest parts of your image. Underwater, that usually means:

• Sunballs

• Surface glare

• Reflective sand

• Fish scales

Lowering Highlights helps:

• Restore detail near the surface

• Preserve blue gradients in open water

• Prevent harsh transitions from light to dark

Typical underwater values range from –20 to –60.

Important reminder:
Highlight recovery is limited. If the information was never captured, Lightroom cannot invent it.

Your goal is protection, not miracles.

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Shadows: Bringing Life Back to the Reef

Lifting shadows reveals reef structure and detail, but pushing too far can introduce noise and reduce contrast.

Shadows are where underwater images often feel lifeless and dull. 

Reefs, wrecks, and divers tend to sit in shadow because water quickly absorbs and diminishes light, making these areas look darker and less vibrant.

Raising Shadows:

• Reveals texture and detail

• Improves subject separation

• Makes scenes feel three-dimensional

Typical underwater values range from +20 to +60.

Be careful:

• Excessive shadow lifting reveals noise

• Backscatter becomes more visible

• Contrast can disappear if pushed too far

Think of shadows as storytelling tools. Reveal enough to guide the viewer’s eye, not everything.

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Whites and Blacks: Defining Contrast Underwater

Whites and Blacks define contrast. Clipping previews help you set limits without crushing detail.

Underwater images rarely display true white or pure black, but that doesn't mean they should look flat or dull.

Whites:

• Set the brightest safe point in the image

• Add sparkle without blowing highlights

Blacks:

• Anchor depth and contrast

• Give the image weight and realism

Use the Alt/Option key while adjusting to preview clipping.

Small movements really matter here. Often, adjusting by just ±5 to ±15 is enough to make a noticeable difference. 

This is the point at which images cease to appear washed out and begin to appear more intentional and well-crafted. 

Balanced highlights and shadows work together to create depth, separation, and a natural underwater look.

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Strobe vs Ambient Light: Why Exposure Behaves Differently

Strobe lighting shapes light underwater, reducing the need for aggressive shadow recovery compared to ambient light alone.

This comparison is critical.

Ambient Light Image

• Strong blue cast before correction

• Deep shadows

• Greater need for shadow recovery

• Higher noise risk

Strobe-Lit Image

• Localized, directional light

• Better subject exposure

• Less shadow lifting is required

• Cleaner tonal transitions

This is why strobe images often tolerate less aggressive tonal adjustments; the light was already carefully shaped underwater. 

In contrast, ambient-light images require more careful balancing to prevent noise and a flat appearance. 

Understanding the source of the lighting clarifies why using the same slider values across different dives rarely yields consistent results.

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Where Sharpness Fits in the Workflow

Sharpness belongs near the end of the workflow, after exposure, tonal balance, and noise control are complete.

This answers a common and important question.

Sharpness does not belong in tonal balance.

Why:

• Sharpening exaggerates noise

• It amplifies backscatter

• It increases contrast at edges before tones are finalized

Correct order:

1. White Balance

2. Exposure and Tonal Balance (this section)

3. Presence and Texture

4. Color Refinement

5. Noise Reduction

6. Sharpening (near the end)

Sharpness is referenced here only to clarify placement. It will be addressed fully later in the series.

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Common Exposure Mistakes Underwater

• Raising exposure instead of fixing white balance

• Ignoring clipped highlights

• Crushing blacks to hide backscatter

• Over-lifting shadows in deep water

• Applying presets before tonal balance

• Sharpening too early

Each of these creates problems that compound later.

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Summary: The Exposure Mindset

Exposure underwater is not about brightness.

It is about:

• Protecting highlights

• Recovering shadows thoughtfully

• Creating believable contrast

• Preserving color integrity

When exposure and tonal balance are correct, everything else becomes easier.

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What’s Next: Part 5D

In Part 5D, we will build on this foundation using:

• Texture

• Clarity

• Dehaze

These tools add presence and depth but only function properly once the tonal balance is complete.

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Final Notes for Oceanic Explorers

If your images feel flat, do not reach for presets or saturation first. Fix the light. The color will follow.

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Call to Action: Take the Next Step

If you are starting to see the difference that proper exposure and tonal balance make in your underwater images, you are already ahead of most photographers. These foundational skills enable Lightroom’s more advanced tools to function as intended.

If you want a structured reference you can return to between dives, I have put together a free guide that walks you through some of the most effective Lightroom fixes every underwater photographer should know.

👉 Get the free guide here:

10 Lightroom Fixes Every Underwater Photographer Should Know 

Inside, you’ll find practical, real-world Lightroom techniques designed specifically for underwater images, not generic photography advice.

Join the Conversation

I also encourage you to share your before-and-after edits or ask questions using #RobertHerbPhotography. Seeing how others approach similar challenges is one of the fastest ways to improve your own work.

Looking Ahead

In the next installment, Back to Basics – Part 5D, we will build on this tonal foundation by exploring Texture, Clarity, and Dehaze. Used correctly, these tools add presence and depth. Used incorrectly, they can quickly ruin an image. Understanding when and how to apply them makes all the difference.

Until then, remember:
Fix the light first. Everything else becomes easier.

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White Ballance

If you missed it, Part 5B covers White Balance for Underwater Photography, which should always be corrected before adjusting exposure and tonal balance.

Link to Part 5B.

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Written by Robert Herb

Empowering underwater photographers to capture and enhance the beauty of our oceans since 1978.

Stay tuned for more in-depth insights into underwater photography. Let us dive deeper into the art and craft of capturing the marine world. I would welcome any comments or suggestions.

Get ready for an exciting underwater photography adventure. For more details on my upcoming online training course, check out my Training page at RobertHerb.com or email me at bob@robertherb.com.

I look forward to your feedback and suggestions. 

Sincerely, 

Bob Herb

Robert Herb Robert Herb Photography +1 (714) 594-9262‬  |  +504 9784-0024  |  www.RobertHerb.com Bob@robertherb.com  |  Roatán, HN or Aliso Viejo, CA (USA)