Underwater Photo Editing in Lightroom: The Complete Workflow, Mobile or Desktop

There is a precise moment on every dive trip when the photographers gather. Not in the water, not on the deck for the briefing. In the lounge, after the last dive, each person hunched over a screen, wondering why that turtle photo that looked perfect at 15 metres now resembles a shapeless blue mass. That is when editing truly begins.

During my workshops in Brussels and on liveaboards in the Maldives, I have noticed that editing is the topic that generates the most frustration. Not because Lightroom is complicated (it really is not), but because nobody explains the workflow in the right order. People adjust saturation before white balance. They push Dehaze to the max without understanding what it does. They export to JPEG before correcting the curves.

This guide follows the workflow I use every single day, in the exact order, with the same steps whether you are on Lightroom Classic (desktop) or Lightroom CC (mobile, iPad, cloud).

Editing does not start in Lightroom. It starts with the cull.

On a 50-minute dive, a beginner photographer takes between 100 and 300 photos. An experienced photographer takes between 30 and 80. The difference is not talent, it is selection discipline. But in both cases, the first step is the same: eliminate the obvious failures.

My culling protocol works in three fast passes. First pass: delete everything that is technically beyond saving (motion blur, empty framing, blown highlights). Second pass: rate the potential images with 1 to 3 stars. Third pass: keep only the 3-star shots for full editing. The rest can wait.

!Lightroom culling screen with underwater photos sorted by star rating

On Lightroom Classic, I use keyboard shortcuts (1, 2, 3 for stars, X to reject, P to pick). On Lightroom Mobile, swiping does the job. The goal is the same: reduce 200 photos to 15 or 20 candidates in under 10 minutes.

Every underwater edit starts with white balance. Not exposure, not saturation, not Dehaze. White balance.

Why the order matters: water selectively absorbs wavelengths (red disappears first, then orange, then yellow). Correcting white balance is telling Lightroom which colour the water stole. Everything else follows from there.

The most reliable method is to use the white balance eyedropper on a zone that should be neutral in the image. Light sand, grey rock, the white belly of a fish, the hull of a boat in the background. If no neutral zone exists, start by shifting the temperature towards warm (5500-7500K depending on depth) and the tint towards magenta (+10 to +30 depending on water type).

In clear tropical water, I generally start around 6500K and +15 magenta tint. In the Mediterranean, closer to 7000K and +20. In Belgian green water, the values climb higher: 7500K and +25 to +35. These numbers are not recipes. They are starting points that your eye will refine.

Once the white balance is set, exposure comes into play.

Most underwater photos taken in natural light are slightly underexposed (that is normal, there is less light at depth). Raising the exposure by +0.5 to +1.5 stops is common. The trick is to watch the histogram: as long as the right side does not touch the edge, you have room to work.

The sliders that truly matter for underwater photography, in this order: Exposure (global correction), Highlights (often brought down because the surface or reflections are blown), Shadows (raised to reveal detail in the dark zones of the reef or wreck), Whites and Blacks (fine-tuning of overall contrast).

The classic trap: pushing Shadows to +100 thinking you are "revealing details". What actually happens is that digital noise explodes in the dark areas, and the image loses all sense of depth. Stay between +30 and +60 for Shadows, unless your RAW file is exceptionally clean.

!Lightroom exposure panel adjusted for an underwater photograph

Curves are the most powerful tool in Lightroom for underwater photography editing. And the least used by beginners.

The principle is simple. The water absorbed red? Add it back via the red curve. The water pushed too much blue into the shadows? Reduce blue in the shadows via the blue curve. This is targeted compensation, not global correction like white balance.

In practice, for a photo taken between 10 and 20 metres in tropical water, I start with the red curve. I place a point in the lower quarter (shadows) and pull it up slightly. Then a point in the upper quarter (highlights) that I leave in place or bring down very slightly. This reinjects red into the dark tones without making the highlights orange.

Then the blue curve. Generally, you need to lower blue in the shadows (dark underwater zones are always too blue) and sometimes in the midtones. Be careful not to go too far down, or the image shifts yellow.

The green curve is rarely modified except in green water (Belgium, northern Europe), where you sometimes need to lower it in the midtones to neutralise the colour cast.

Lightroom's Dehaze was designed for hazy landscapes, but it works remarkably well underwater. The water column between the lens and the subject acts exactly like haze: it scatters light and reduces contrast.

The rule I follow: 15 to 30 Dehaze for photos taken in clear water between 5 and 15 metres. 25 to 40 for reduced visibility conditions. Above 40, the image starts looking processed, with halos around contrasted subjects and amplified noise.

Clarity works on edges and mid-tone textures. Between +10 and +25, it makes coral details, fish scales and rock textures more readable without hardening the image. Above +30, human faces (divers) become unflattering and smooth areas (background water) get grainy.

The Hue/Saturation/Luminance (HSL) panel lets you adjust each colour individually. This is where underwater editing gets refined.

The adjustments I use most often: Aqua and blue hue (to distinguish the blue of the water from the blue of the sky in the background, or to separate two shades of blue in a reef scene). Red and orange saturation (to bring corals, sponges and tropical fish back to life without oversaturating diver skin). Blue luminance (to darken or lighten the background water depending on the mood you want).

!Lightroom HSL panel with adjustments for a coral reef photograph

The HSL trap: pushing red saturation to +60 because "corals should be red". They were not that red in reality. Editing reveals what the water absorbed, it does not invent colours that were never there. That is the line I draw at AquaExposure between editing and manipulation.

The final technical step before export. The order matters: reduce noise first, then apply sharpening. If you do it the other way around, sharpening amplifies the noise you are then trying to reduce.

For photos taken at ISO 100-400 (the majority in natural light between 0 and 15 metres), luminance noise reduction between 10 and 20 is enough. For photos taken at ISO 800 or above (depth, murky water, late afternoon), go to 25-40. Beyond that, fine detail starts melting away.

Sharpening works well between 60 and 90 for underwater photography. Radius between 0.8 and 1.2, Masking between 40 and 70 (hold Alt/Option while moving the Masking slider to see which areas are affected - white areas receive sharpening, black areas do not).

Everything I have just described works in exactly the same way on Lightroom CC mobile. The difference is not in the tools (they are the same) but in the ergonomics.

On iPad, the advantage is tactile culling: swipe to reject, tap to rate, pinch to zoom into the focus point. It is faster than a mouse for the cull. On the other hand, per-channel curves are less comfortable to manipulate with a finger than with a mouse.

My hybrid workflow when travelling: I connect the SD card to the iPad (Lightning or USB-C adapter), import into Lightroom CC, do the cull and basic correction (white balance, exposure, Dehaze) between dives. In the evening or when I am back home, I finalize on desktop (curves, HSL, sharpening). Everything syncs via the Adobe cloud.

For those without a Lightroom subscription, Snapseed (free, by Google) offers a similar workflow but without per-channel curves or cloud sync. It is enough for basic corrections but limited for serious underwater colour work.

After five years of teaching, certain mistakes come back with clockwork regularity.

Editing in JPEG instead of RAW. JPEG has already compressed the colour information. When you push red in the curves, you are amplifying noise, not signal. The result is grainy and false. If your camera allows it, shoot RAW. If your smartphone does not do it natively, enable Pro mode (Android) or ProRAW (iPhone).

Editing before culling. Editing 200 photos takes 10 hours. Editing 20 takes one hour. Culling is not wasted time, it is a quality multiplier.

Applying the same preset to every photo from a dive. The light changes with depth, with orientation relative to the sun, with local turbidity. A preset is a starting point, not a solution. Every photo deserves an adjustment, even a small one.

Forgetting to crop. Cropping is the most powerful and most neglected editing move. Removing 20% of the image to recentre the subject often transforms a mediocre photo into a strong one. Underwater, we tend to frame too wide because we lack stability. Cropping corrects that.

If your photos are coming out consistently blurry and blue, the problem might start before the editing stage.

Underwater editing as I practise and teach it rests on one simple principle: reveal, do not invent.

The water absorbs colours. The sensor records that impoverished version. Lightroom lets you compensate for the absorption to get back to what the eye saw underwater (or close to it, because the human eye compensates better than any sensor). That compensation work is honest.

What is not honest: adding colours that were never there, oversaturating bleached coral to make it look alive, replacing a sky with a sunset, cloning a fish to fill the frame. The line is sometimes thin, but it exists. Every edited photo should be comparable to the original RAW without the photographer having to feel embarrassed by the gap.

For those who want a faster starting point, underwater LUTs can speed up the initial corrections, as long as you understand what they do under the hood.

And when you are ready to go deeper, the AquaExposure training covers this entire workflow in video, with real RAW files to practise on.

AquaExposure does not receive any affiliate commission on the software mentioned in this article. All recommendations are based solely on field experience.