To Avoid Auto-White Balance

Introduction

How to use the right white balance for different lighting conditions. The light has different color temperatures throughout the day. It is especially important to know, that when shooting photos.

Within photography, white balance is the process of color removal that produces different color temperatures. The human eye processing is much better in color, and we can always see what should be white in the picture.

Most of the time, setting the Auto White Balance (ABB) on your DSLR camera or advanced point-and-shoot camera will prove to be extremely extreme. Sometimes, though, your camera can get confused, requiring a little help. So your camera comes in a variety of different ways to help you deal with more complex lighting conditions. They are as follows.

ABB

In ABB mode, the camera has the “best guess” option, usually, the brightest part of the image is selected. Which is white. This option is usually outdoors, with natural, ambient light.

Daylight

When the sun is at its brightness (around noon) it has a white balance. It adds warm tones to the image to fight very hot color temperatures.

Smooth

When the cloud is still out, the cloud mode is to use, brake cloud cover. It still adds warm tones, but it reflects the slightly cool nature of the light.

Shed

When your subject is in the shadows on a sunny day, you may want to use the side mode, or when you meet a bright, dim, or quiet day.

Tungsten

You should use a tungsten setting from ordinary household bulbs, which is to create an orange color.

Fluorescent

When you encounter traditional fluorescent strip lights, you may want to use fluorescent mode. Fluorescent lights make a green cast. To counter this, the camera has added red tones.

Flash

Flash mode is for use with high speed, flashguns, and some studio lights.

Calvin

Some DSLRs have a Calvin mode option, which allows the photographer to set its correct color temperature setting.

Customized

Custom mode allows photographers to balance themselves using a test image.

All of these options can be useful, but there are tungsten, fluorescent, and custom settings for you to really learn.

Put it all together

Start with Qinghai. If you’re photographing at home, and the only light source is coming from a large household bulb, you may be better off setting your white balance in tungsten mode. So as to help get the camera correctly. Otherwise, you run the risk of a nasty serious cast on your photos.

Fluorescent Light

Fluorescent Light is easy to use because it always made the cast green. Older digital cameras with only a fluorescent setting will be able to easily handle a small number of fluorescent strip lights. But, if you are in a building with more modern lighting, fluorescent strips are usually giving different shades of blue and green. If you have a new DSLR, you will know that manufacturers have begun to add another fluorescent option to deal with stronger artificial light. Therefore, two fluorescent settings are essential for this very strong color cast.

But what if you have a larger model, and it can not cope with the strong color cast? Or are you shooting in a situation that is a mixture of artificial and ambient light? And if something white in your picture really needs to be perfect white? (For example, if you’re shooting in a studio environment with a white screen, you don’t want a nasty gray to capture instead!)

Conclusion

In these situations, there is a way to adopt a custom white balance. Customization allows the photographer that captures the camera. To use the custom layout, you will need to invest in a “gray card”. These simple bits of card are balanced by gray and 18% gray, which – in terms of photography – is the perfect middle ground between pure white and pure black.

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