However, I do know that you can change the RAW image in any way you want. Like all other RAW adjustments, the profile simply becomes a part of the “instruction set” that travels with the RAW image. It does not touch or alter a pixel in any way. That is the beauty of RAW processing. That’s why the profiles are simply very accurate starting points. Where we go from there is driven by our artistic vision.

Steve

UPDATE: I got a very quick response from Joe Brady of the MAC Group who is their X-Rite expert. My answer above is correct. (Whew!) So long as we are dealing with RAW files EVERYTHING can be changed. And, when the profile is removed, there will be a default to an Adobe profile (or you can choose whatever profile you want.)

Joe throws in one important detail — once you convert from RAW to any other format, be it .tiff, .jpeg, or .psd — that profile becomes embedded and nothing will change if the X-Rite profile is deleted.

Joe points out one last thing. As the article mentions, WB is separate and distinct from the profile; they work together — but they are not tied together. Color temperature can always be changed, without regard to the file type.

First, I never use Auto White balance; following the teachings of Jim DiVitale, I use one WB per lighting set up and stick with it. Then I do a batch correction.

Second, there are many time when I shoot and using a Gray Card will not work — especially shooting sports in stadiums with odd lights or in places with multiple types of lights/mixed lights. I take a Kelvin reading, set the camera, and remember the Kelvin reading. I then dial it in in ACR as a starting point. I have found lighting temperatures I never knew existed and for which Auto did not work and for which there was no camera preset — like some forms of sodium vapor lights.

Third, there are times when you go into an environment and are going to used added flash to create direction or clean up the light. I use the color meter to find the ambient temperature and then gel the flash to match it. I could not do this without the meter.

In the studio, or with normal outdoor shooting, I don’t use the color meter — no need to. My Profoto lights are dead on when it comes to WB. And, I usually use a preset for sunny or cloudy outdoors.

Summary: The color meter is invaluable in odd, changing or mixed light situations, when one is shooting in multiple environments, or when one needs to figure out how to gel a light source to bring it into conformity with others.

Thanks for raising this topic.

Steve