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Forum: Monthly Photo Contests
10-01-2018, 10:20 PM
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I would like to nominate this photo
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Forum: Photographic Technique
02-03-2018, 06:06 AM
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I shoot to have correct white balance at all times. Keep in mind I shoot weddings and so WB correcting 700 to 1300 images would cost me so much time in Lightroom. I find it much more simple to apply creative use of WB in post production. Another reason for me is that photos with WB that is not correct does no really "work" very often. More often than not If i play with WB it is from me shooting flash with CTE gels. If your camera body has auto mutl setting it works great. Just my two cents.
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Forum: Photographic Technique
02-03-2018, 07:30 AM
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When working on location I employ gels to correct to the dominant light source in the scene, I have different camera profiles I use to correct for CRI deficiencies in various common light sources. I don't do weddings, I do a lot of portraiture and I have done photography for bridal catalogs, and I haven't had any issues with working around 5000K: as an overwhelming majority of flash units output light at that temperature. In the studio I will mix light sources - but only because I have absolute control over them, on location you often have to work around what the location has to offer. Though there have been shoots in my past where an overwhelming amount of portable lighting was brought in to compensate for the locations lack of stellar lighting.
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Forum: Photographic Technique
02-03-2018, 08:42 AM
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I don't know if this addresses any of your needs, but you can digitally simulate a color correction for effect by doing a manual white balance on a colored sheet of paper or the like. That will introduce a color opposite the sheet color into the final photo. I know at one time, at least one company made a pack of sheets with various hues and saturations for this purpose, but it's easy to make your own if you have a color printer. Of course, it's pretty imprecise and you have to determine a color by trial and error to fit a particular effect need, but once that's done, it's fairly repeatable.
It could be a lot easier to just use post-processing as Digitalis mentioned. I don't think this method will get you into any deep color filter simulations, however, and of course it won't simulate graded filters or many other types of filters which actually have to be on the lens to work. Probably just as easy to carry a regular filter.
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Forum: Photographic Technique
02-03-2018, 04:15 PM
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Traditional on-camera color correction filters (81-series, 82-series, and such) work by limiting the spectra reaching a medium having known spectral response. What the film does not see or react to, it cannot record. This is not the same as changing white balance on a digital camera where capture data is coerced into a known emittance spectrum as part of RAW image conversion/processing.
That being said, optical filter intent may be a reasonable guide for setting in-camera white balance color temperature. The reference table for Wratten numbers in the Wikipedia includes correction intent:Wratten number - Wikipedia Using white balance as the means to warm or cool the digital image is a coarse tool with fairly high probability for unpleasant side effects. Post-exposure adjustment of RAW capture offers much more control and is much preferred, IMHO. To each their own, though. Here are a few notes regarding various approaches:- If using optical filters to warm/cool the image, use a manual color temperature setting for white balance
in the "daylight" range of 5000K to 5600K. Auto white balance will defeat the optical filter.
Edit: The actual manual "K" white balance setting depends on the target media intent of the filter. If intent was to correct 3200K to 5500K (tungsten light with daylight film), set the white balance to 5500K.
- Strictly speaking, the white balance setting only applies to in-camera JPEG and TIFF output
- While RAW capture has no notion of white balance, output to .pef or .dng files does include the camera white balance setting as part of the EXIF makernotes metadata. That notation may be read and used by the RAW processor to apply the camera white balance to its output.
- Because of the above point, it is usually a good idea to either use auto white balance, custom white balance, or an appropriate color temperature (degrees K) setting when shooting RAW. Doing so allows the RAW processor to provide an appropriate starting point image and helps avoid puzzling initial RAW processing results. (i.e. Why is my picture all blue?)
- For maximum flexibility in color management with least potential for artifact shoot RAW and apply adjustments to white balance, tint, hue, saturation, and brightness in post-processing
- The white balance features of your K-3 includes the ability to apply significant tweaks to the color balance applied to in-camera JPEGs. See the user manual for details. That tweaked white balance may be retained as part of a saved User Mode. Remember that those tweaks only apply to images processed in-camera.
Good luck and have fun!
Steve
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