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08-03-2010, 02:30 PM   #16
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QuoteOriginally posted by CWyatt Quote
I agree with shooting RAW to give you much more control. I also find my K-7 has exceptional AWB. However, I would question what the 'right' WB is.
The right WB is the one that portraits the Mood you want in the shot, and sometimes this is by setting WB to daylight and shooting under tungston lights, to get warmth.

I agree 100% with this point, it is to achieve the cvolor you want, not necessairly to be accurate, although some times this might be what you want

08-03-2010, 03:39 PM   #17
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QuoteOriginally posted by graphicgr8s Quote
As for color temperature. Most people just starting in photography haven't a clue about color temps. We do because we do this all day long. So in this case I thought a simplistic explanation was in order.
Yeah, that's what I tried to offer in my first post. I like to jump in when I think the answer is easy. I didn't mention temp, Kelvin, etc. But as I started thinking about it, I realized it's a little harder than I thought.

Will
08-03-2010, 04:46 PM - 1 Like   #18
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QuoteOriginally posted by CWyatt Quote
I recently heard a top pro say get off AWB and shoot all your outdoors stuff in Daylight WB. You'll get more satisfying colour. You can also use artificial street light etc to really add a feeling of warmth/artificial-ness.

I think this was a good point.
I agree, although of course there is practical value in AWB (or other WB presets) for many shots if you know your eventual goal is going to be to completely neutralize the color cast. But there is something to be said for having as your starting point a shot that show the *actual* colors of the scene, including the color cast imparted by the light, and then you can decide for yourself in PP how much of that color cast to remove.

Setting WB to Daylight or Flash in PP is often my first step in processing pictures of sunsets, fireworks, night cityscapes, or any other scene where I know the color of the light is a significant element in itself. Often, I do just leave it there.
08-04-2010, 07:22 AM - 1 Like   #19
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QuoteOriginally posted by Lowell Goudge Quote
The right WB is the one that portraits the Mood you want in the shot, and sometimes this is by setting WB to daylight and shooting under tungston lights, to get warmth.

I agree 100% with this point, it is to achieve the cvolor you want, not necessairly to be accurate, although some times this might be what you want
That's very true.

As I've mentioned before, with so many of my shots being taken while sitting in traffic I almost always have a white road stripe somewhere in my photos. For the sake of consistency I always use that to set white balance when possible. I find that the white stripes (at least where I am) tend to be ever so slightly on the blue side and adjusting WB to the stripes pushes the photos a wee bit to the red side and warms them up just precisely to my liking. With my ship photos I usually adjust to a point on the superstructure, which is almost universally painted white.

08-04-2010, 09:33 PM   #20
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I to also shoot in RAW and AWB. I do something a little different that I have not seen mentioned here. If I get a color cast I donít like/want I look around the frame for some thing I think is white/gray. I then use the WB eyedropper (and 5 pixel averaging) to set the WB. Even if the object is not exactly white/gray if it is close then everything else will usually look right. If the color goes in a way I donít like I donít use that point undo and pick a new point. The white canít be a blown out white. No color channel of the abject can be 255. Concrete is usually a good abject to pick but you have to look out for new concrete, as this tends to be green (that is why it is called green concrete). Brighter gray is usually better the darker gray. I have used this when the photo has dozens of different colors light sources but the over all scene looks correct with all the lights sources are a rainbow of colors like they really are. This is a way to get the WB for an entire city with all the different colors lights used.

There is an advantage to doing WB this way other then fast and easy. WB by temperature is a bite of a fiction. It assumes the color of the light is the same curve as a black body. It then shifts all the color channels the same why/amount to match this curve. When the light sources where simple this worked OK but with a lot of the modern light sources this is not the case. When you use the WB eyedropper it shifts each color channel separately.

Some lights like some streetlights canít be WB because they donít give out a broad enough color spectrum to give a white light. Some sodium lights are almost monochromatic giving out only 2 colors of orange light peeks right next to each other. It is like WB a laser light.

Color is a powerful aspect of a photo. The ďcorrectĒ color may not be the color the photographer wants. The slightly orange color of a candle maybe the color of the scene that is what the photographer is trying to convey. You can WB the color of the golden/blue hour right out to the scene. Some times the colors of the scene is the right color with out and WB. So be careful of how you use WB.

DAZ
08-08-2010, 04:46 PM   #21
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What do you all have to say about getting good skin tones working with WB? That is my biggest goof/concern. I hate it when my subject looks like a liver patient.
08-08-2010, 05:17 PM   #22
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QuoteOriginally posted by magnum1 Quote
What do you all have to say about getting good skin tones working with WB? That is my biggest goof/concern. I hate it when my subject looks like a liver patient.
People talk about "skin tones" as if this was a known, fixed quantity of something. Not so. There are a million different skin tones and they react to light differently. Solution: Shoot raw, auto-white balance, and correct in post as necessary. I do it all the time.

Will
08-08-2010, 07:13 PM   #23
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Skin tones are a good example of the correct color is the color you like not what the most accurate color. Use the previous suggestions for WB and then fine tune so that people look good to you.

DAZ

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