The function adjusting the color tone so that white objects look white in the picture is called white balance WB. Do this procedure under the actual light source to be used.
For more information on registering custom white balance, please refer to the instruction manual that came with your camera. The composition ratio of three primary colors red, green, and blue differs depending on the color temperature. At higher color temperatures, the color becomes bluish, and at lower temperatures, the color becomes reddish.
As the color temperature becomes higher, the color changes from red, orange, yellow, white, to blue-white. For example, if you shoot a white subject under a tungsten lamp, the image becomes reddish; and under fluorescent light, it becomes greenish. Was this helpful? Thank you! Your feedback is used to help us improve our support content. It solved my issue. You may use AWB because it is easier to let the camera figure out the white balance based on the scene in front of you.
However, as stated before, it is useful when you know how and when to use it. Setting white balance is not as daunting as it sounds though and when the conditions are not variable, you only need to set your white balance once for those conditions. So, if you are outdoors on a sunny day, set your white balance to Daylight or Sunny.
If it is cloudy, choose the Cloudy white balance and similarly if you are in shade, choose Shade. These are very straightforward to remember based on the easy naming convention. When indoors, for incandescent lights, choose Tungsten or Incandescent and when shooting an area with fluorescent lights, choose Fluorescent. This is called setting your white balance to match your shooting conditions.
You can also set your white balance to modify your existing conditions. Once you start experimenting with white balance and understand how it affects your images , use it to get creative or make your image look either warmer or cooler. White Balance used to make the image look cooler. Auto White Balance is a handy setting to have when you are unsure of what white balance would work for your scene. If you shoot in RAW , you can easily change your White Balance after the fact to find the best option.
I am much more likely to nail the colours in post on said monitor than I am reviewing it on the back LCD screen of my camera. Some people prefer jpeg above raw And that also answers your second question. I was trying to understand why. To be clear, I wasn't judging anyone. Raw or jpeg.
Auto WB or manual WB. Priority shooting modes or full manual. I don't care. I never suggested you did. But I don't understand why it would make more sense to use AWB instead of manually input it I used to shoot dance schools during their annual shows. I had very little time to shoot and had to sell during the break in the middle of the show. I developed a setup where I was shooting in a very controlled studio setting with perfect white balance and exposure in camera.
My camera was connected via wi-fi to a print server and images were printed 45 seconds after being taken to be available as quick as possible for selling. There are a LOT of different businesses possible with photography and some require to deliver ultra quickly.
JPEG in camera is a must in these situations. Yours sounds like a very specific example, and I am not sure why you'd have to sell during the breaks unless it was to create a sense of scarcity for customers to boost sales, which is a perfectly legitimate business tactic.
I would imagine that your sales volume would drop off quite a bit if you sold such photos even a few hours removed from the show as it would be out of peoples' minds. If they didn't have a kiosk selling your roller coaster photos right at the exit, how many people do you think would go back onto a website and order such a photo?
Capturing the customer on-location removes a huge barrier which is getting the customer to take initiative. Roller Coaster example isn't relevant because the set up would be completely different and probably calibrated specifically for that exact scenario. Event photography is all about speed of delivery. Shootin JPEG in camera streamlines lots of things for that. Particularly in today's society, where you have images and videos being shared in real-time, you often need to be able to reasonably keep pace.
Then why shoot both? Many times the photographer will submit that, but keep the RAW for publishing later or in less stringent places. I used to shoot quite a bit for the newspaper on extremely short deadlines, and they needed jpegs that were downscaled for quick loading on the web. If they needed something for the front page, or there was an image I liked for my portfolio, I had the Raw to use, but I rarely ever needed anything but the Jpeg.
Last month I shot a 5K for a local company and had to turn over Jpegs a half hour after the race so same deal, shot in Jpeg, culled through photo mechanic and turned in the shots. In both cases I set the WB manually because I don't have time to go back and tweak inconsistencies in the photos. Very clear story. Thanks for sharing. And a good example of the benefit of shooting at a fixed WB setting. Hold on Frying pan to fire! Auto white balance get you most of the way there, unless on my Canon 5D3, I'm shooting Tungsten, when it is hopeless.
The only way of getting any sort of accurate or representative colour balance is on a calibrated screen. I will shoot a manually fixed colour balance if I'm shooting in tungsten because my 5D3's attempts just drive me mad when I check on screen, or if the camera is getting it way off the mark so judging things on the LCD is impossible.
For studio work and product I'll use a grey card to set colour, I find Capture One does a better job than I can ever do with a colour card , and I've got one of those useful little Expodiscs for some occasions, although they still get confused in very mixed lighting.
What I wish manufacturers would do is to give us the colour balance information as well as the exposure info etc on the back of our screens - which would be very helpful when matching strobes and speedlights to ambient temperatures. The histogram can help you with determine exposure, but for color it is simply impossible.
I think LCD screens are good for a quick check on histogram and composition, nothing more, nothing less.
Keeping in mind that I'm mostly a people photographer, since I shoot in raw, I usually treat every photo as its own entity; editing it the way I want it to be. That means that initial WB is mostly meaningless to me.
Often times, though, I want a consistent baseline from which to start. If that's the case then I shoot a WB patch on an X-Rite Color Checker, and then sample it in post and sync it to all the images in that particular shoot. I presume you do studio work when using a color checker?
I think for that sort of photography it is a very precise way for color balance. But it would be foolish to run around with a color checker during weddings, or in landscape photography. If you did, it would kill all the nice ambient light : There is not one way for everything. All sorts of photography ask for its own approach. I've done run and gun type of event shoots in which I'll shoot a WB patch and use it across all the shots.
That doesn't work as well if I'm, say, bouncing a camera mounted flash and mixing it with ambient. But if I'm in a position to use all ambient, it works well; especially if I'm in a room that's lit by a single type of light; typically fluorescent, or windows.
In outdoors event shooting, the same thing. Just shoot the one WB shot and use it. You don't need to run around with it. As far as landscape work, I'm not a landscape photographer, but I don't see how using a WB patch would kill the nice ambient light. Wouldn't it simply provide a consistent baseline? Assuming one is shooting raw, that is. It's not that difficult to take some baseline measurements in each major location that you're going to be in. There's obviously little point in using it if you're up against blue and purple LED lights on a dancefloor I usually just default to K in that instance , but in more standard lighting scenarios, it'll give you a tool to get closer in post than some in-camera WB preset will.
I think that the biggest reason to try to get your WB right in-camera, however, is that your histogram read-out will depend on your baked-in JPEG preview so without being at least somewhat close, you risk screwing your exposure by when the values in each channel shift with the WB in post. In camera settings can influence the histogram. That is why I turned down contrast in the camera. Home Topics Education. Every camera has the possibility to change the color balance from auto to a lot of presets like daylight, shade, cloudy, tungsten, fluorescent and a custom color temperature.
Turning the auto white balance off gives more control. I have a strong preference for daylight setting. I feel it gives the best result, especially in landscape photography.
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