Robert Herb Photography Blog

Not sure where to begin with an underwater photograph? That is exactly why I created Ask Bob: Find My Underwater Photo Fix . After publishing weekly underwater photography lessons for years, I realized  many readers found useful information but still had one practical problem: they didn't always know  which article to start with  for the photo or Lightroom issue  in front of them. Ask Bob solves that. Describe what is going wrong with your underwater photo, your Lightroom workflow, or what you are trying to accomplish. Ask Bob searches Robert Herb Photography articles and points you to the best place to start. How Ask Bob Works Describe the problem in your own words. For example: My underwater photo is still too blue after White Balance. My reef photo looks flat and has no depth. The subject looks right, but the water does not. The background is distracting from the subject. My wreck photo is dark. Should I brighten it? My image looks crunchy after adding too much Te...

When color draws attention to the edit rather than the photograph, back off. At some point in an underwater edit, adding more color stops improving the photograph and starts making it look unnatural. The White Balance is working. The exposure is working. The photograph has contrast, detail, and separation. The reef looks alive again. Then we make one more color adjustment. At first, it can feel like an improvement. The reds become stronger. The blue water becomes richer. The reef looks more dramatic. But look again. The red sponge is starting to feel too intense. The orange tones are becoming exaggerated. The water is beginning to compete with the subject. Instead of noticing the photograph, you begin noticing the edit. That is the moment to stop. When color draws attention to the edit rather than the photograph, back off. This week in The Underwater Edit Clinic , we are not trying to add more color. We are learning how to recognize when we have already gone too far. Diagn...

The Underwater Edit Clinic #4 explores what happens when the background is already working, but the diver still needs a different correction. Sometimes an underwater photograph reaches a point where most of the image is working, but one important part still is not. That is what happened with this photograph. After the normal global corrections, the blue water looked believable. The reef had enough structure. The lionfish fit naturally into the scene. But the diver still needed work. This is where an important editing decision appears: Do I keep changing the whole photograph, or has the remaining problem become local? That question is the heart of this Edit Clinic. Last week in The Underwater Edit Clinic #3: When the Subject Looks Right but the Water Doesn’t , we looked at the moment when the subject is right, but the water isn't. This week, we are taking that idea one step further: what happens when two important parts of the same photograph need different corrections? TUEC...

The Underwater Edit Clinic #3: When the Subject Looks Right but the Water Doesn’t. Learn when to stop making global adjustments and correct only the part of the photograph that still needs work. Sometimes an underwater edit reaches an awkward point. The White Balance looks reasonable. The exposure is close. The main subject looks believable. But something still feels wrong. In this photograph, the foreground coral is beginning to work. It has color, texture, and enough tonal separation to hold your attention. The water does not. It still looks pale, cyan, and visually weak. This is where many underwater photographers make the next mistake. They keep adjusting the entire photograph. But once part of the photograph is already working, the entire photograph may no longer be the problem. That changes the decision. The question is no longer: What slider should I move next? The better question is: Is the whole photograph still wrong, or is only part of it wrong? That is what we are going to ...

The Underwater Edit Clinic #2: Why Your Underwater Reef Photo Still Looks Flat. Build tonal structure first, then add Presence and color to create depth and separation. A reef photograph can have reasonable White Balance, usable exposure, and plenty of color, yet still feel flat. That is exactly what happened with this photograph. The first instinct might be to reach for more Contrast, Clarity, Dehaze, Saturation, or stronger masks. Those controls can certainly make an underwater photograph look more dramatic. But before deciding what to adjust, I want to ask a better question: What is actually causing the photograph to feel flat? Flatness is a symptom. It is not a Lightroom control. In this edition of The Underwater Edit Clinic , we are going to diagnose the photograph first, determine which stage of the workflow is responsible for the problem, and then make the adjustment that actually belongs there. The goal is not simply to make the reef more dramatic. The goal is to unders...