Count your lucky stars that you're joining the digital era *now* Even 2 digital-camera-generations ago, white balance was just a nightmare. I never even bothered with auto-WB on my K-10-d unless I was in bright sun, the K10 was all manual-WB alla time :P
As much as they've improved, one area where digital cameras still have a heck of a time, is transitional light. If you've got competing colored light sources, or the light quality is complex enough that the auto WB might not be able to figure it out, you have to go to manual. Sunset light is a bear that way
If you take a set of photos under iffy WB conditions on auto-WB, the camera will turn out a series of hilariously different photos - picking tungsten WB for one shot, and daylight WB for the next, even when they're exactly the same.
On a similar note, the hardest color for digital to handle is red (anyone got good sensor-physics to explain this? I'm sure the reason is known
). Red toned highlights more than any other color can really get burned (meaning lots of digital data wasn't captured, resulting in a mono-colored hotspot) in a non-adjusted shot - one reason I went from the K-x to the K-5, was this issue. Any time I'm going to shoot something that's a pure red, and illuminated, I take care with a tad of under-exposure to be sure I have enough data in the red channel available to edit! If the red gets burned or really color-cast shifted, it's much harder to get red (more than any other color) back in post processing, because the actual digital data for red was never completely captured.
K-x's burned reds:
So if you've got iffy lighting for WB *and* you're shooting a very red subject, you'll be doing a lot of post processing, because while the K-5 has great adjustability no camera can beat a fully enabled copy of Photoshop or whatever software you're using
You can do a lot of fine tuning of WB in-camera, and then tune even more in the color settings, but frankly I find it really fussy and prefer to shoot in RAW and tune the WB in Photoshop where the controls are much more refined and the screen is huge. For any given sunset, I'll shoot a frame, try out several different WB presets and choose one that gets the closest - and then just ignore WB and concentrate on exposure. Knowing I'll tweak the WB the rest of the way in Photoshop, means I can relax and work on getting a good shot
This pano I was able to quickly grab an auto-WB setting that got very close to the color & pushed it the rest of the way in post. I don't know why the K-5 handled the deep orange so well that day, it's a mystery:
This shot, on the other hand, was an absolute work out - I was only able to get a WB color palette in the same
zip code as the actual scene and had to post-process to tweak white balance, remove color cast and do a couple of other things to get there. It was completely eerie light, even wilder than it looks in the finished pic.
This is an area where you'll need to embrace your inner Zen blank-slate of ignorance. You're building an entirely new skill set, accumulating enough data to start being able to intuitively set the camera. Shoot every sunset you can, every illuminated red you can, while adjusting your camera settings and observing. Let the camera show you what settings get you close to what you saw. Pick up a copy of Photoshop Elements (much less overwhelming than the full program, but still powerful & lets you edit in RAW), because you're crippled without good post processing software. Learn all of the tricks of RAW editing - that's going to give you the most dramatic reclaiming of the photo you
saw, in the photo you
took.
Just as with film, taking the perfect exposure is only half of the process - you need the perfect 'development' in post-processing as well. And here's where we drag out the Ansel Adam's attributed quote "Great photos aren't taken, they're made."