{"id":7237,"date":"2003-03-09T19:00:00","date_gmt":"2003-03-09T19:00:00","guid":{"rendered":"http:\/\/dev.wordpress\/?p=7237"},"modified":"2025-05-02T15:32:49","modified_gmt":"2025-05-02T19:32:49","slug":"color-balancing-digital-images","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/color-balancing-digital-images\/","title":{"rendered":"Color Balancing Digital Images"},"content":{"rendered":"<p>One of the biggest advantages of shooting \u201cdigital\u201d instead of film is that you can work under all kinds of weird lighting conditions and capture accurate color without resorting to camera filters. For many digicam owners, the temptation is to set the camera on Auto White Balance and blast away. \u201cI\u2019ll fix it later in Photoshop,\u201d people will tell me. \u201cWhy waste time, when you can capture it correctly in the first place?\u201d I usually answer them.<\/p>\n<p>Many digital cameras offer different White Balance options: On the Canon EOS D-60 that I use for most of my digital photography, settings include: Auto, Daylight, Cloudy, Incandescent, Fluorescent, Flash, and Custom; similar choices are found on most digital SLRs. Here are some the differences between working under each of these settings along with some suggestions on how to use them for completely different reasons.<\/p>\n<p><strong>Auto white balance: set it and forget it?<\/strong><\/p>\n<p>Auto white balance works\u2026sometimes. It&#8217;s especially useful in venues with wildly different kinds of light sources, such as convention centers or athletic arenas, but always do a few test shots first to see if the color is close. Under most low-light conditions, I find it\u2019s necessary to increase exposure compensation to produce an image that\u2019s bright enough. Since this is digital, you can see the results right away on your Preview Screen. Make sure you check the histogram, which will indicate if the entire tonal range is covered.<\/p>\n<p>AWB fixes unconventional light: This unretouched digital image of a Lexus concept car that was used by Tom Cruise in the film \u201cMinority Report\u201d was photographed under tricky lighting conditions at the Colorado Convention Center using a Leica Digilux 1 set on Auto White Balance. While the color is not perfect, it\u2019s certainly in the ballpark.<\/p>\n<p>For most images, I use the Canon EOS D-60\u2019s Daylight setting. It\u2019s the best choice for outdoors, but I also use it inside when making window light portraits. Under these lighting conditions, this setting creates a warm, romantic effect that I like.<\/p>\n<p>The camera\u2019s Incandescent setting is amazing; it\u2019s like loading a film camera with Tungsten color slide film or a forgiving color negative film, such as Fuji 800. When shooting under typical living room lights, you may want to shoot a few test shots to see if you need to increase exposure, but the color balance should be right on.<\/p>\n<p><strong>Pro Tip: Mellow Gel<\/strong><\/p>\n<p>One of my favorite portrait techniques is to set the camera on Tungsten, which will make the background bluish, and place an orange gel over the flash to keep the subject color accurate. You can shoot this in Program and ETTL mode, but it works better if you underexpose the background a bit in manual mode. This technique takes some practice and success ultimately depends on the flash\u2019s power output and how \u201ccorrect\u201d the gel is to get the desired effect.<\/p>\n<p>The Cloudy color balance setting is a great way to warm up photographs made on cloudy or overcast days also can also be used during twilight or evening to keep your images from being too cool or blue.<\/p>\n<p><strong>Fulfilling fill:<\/strong> My VW GTI 337 was photographed at twilight using a Canon EOS D60 set on the Cloudy setting and in manual exposure mode. Lighting was mainly from the headlights bouncing off the garage door, but fill light illuminating my wife Mary came from a Canon 420EX flash with a <span style=\"color: #0000ff;\">gold Sto-Fen Omni-Bounce diffuser<\/span> attached.<\/p>\n<p>Fluorescent lights change in color as they age, but I\u2019ve found the Fluorescent setting is a good place to start when an area is lit with fluorescent tubes.<\/p>\n<p>When using studio flash units, I have found that the Flash setting may be too warm or too cool, depending on the brand of camera you\u2019re using and I seldom use it, preferring to use the Daylight setting for most flash shots.<\/p>\n<p><strong>Custom mode? It&#8217;s easy!<\/strong><\/p>\n<p>Some users are intimidated by the idea of using Custom mode. You might think is difficult to use, but it\u2019s not. Under tricky lighting conditions all you need to do is use the Custom setting and make an exposure of something that\u2019s white. The camera will store that image and use it to color correct your subsequent images. While some people just look for something \u201cwhite\u201d in the scene, there are too many interpretations of white paint out there, so I bring my own. The flip side of the <span style=\"color: #0000ff;\">Kodak Grey card<\/span> is white, and makes an ideal companion for the photographer interested in making color correct images to start with, saving lots of time that would be spend later tweaking image files.<\/p>\n<p><strong>After the fact:<\/strong> No matter what kind of setting you choose, the use of a color correction Photoshop-compatible plug-in, such as Pictographics iCorrect Professional, <a href=\"http:\/\/www.picto.com\/\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #0000ff;\">(www.picto.com)<\/span><\/a> can quickly clean up many color shifts.<\/p>\n<p style=\"margin: 0in 0in 10pt;\"><span style=\"font-family: Calibri;\">Joe Farace is coauthor of the book, \u201cBetter Available Light Photography.\u201d You can visit his websites at <\/span><a href=\"http:\/\/www.joefarace.com\/\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #0000ff; font-family: Calibri;\">www.joefarace.com<\/span><\/a><span style=\"font-family: Calibri;\">, <\/span><a href=\"http:\/\/www.joefaraceshootscars.com\/\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #0000ff; font-family: Calibri;\">www.joefaraceshootscars.com<\/span><\/a><span style=\"font-family: Calibri;\">, and <\/span><a href=\"http:\/\/www.takeyourcameratoworkday.com\/\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #0000ff; font-family: Calibri;\">www.takeyourcameratoworkday.com<\/span><\/a><span style=\"font-family: Calibri;\">.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p><span class=\"farace\">One of the biggest advantages of shooting \u201cdigital\u201d instead of film is that you can work under all kinds of weird lighting conditions and capture accurate color without resorting to camera filters. <\/span><\/p>\n","protected":false},"author":154,"featured_media":17777,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[639,645,17778,17770,646],"tags":[655],"class_list":["post-7237","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-how-to","category-photography-645","category-photo-editing","category-photography","category-tech","tag-adorama-655"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Color Balancing Digital Images | Expert photography blogs, tip, techniques, camera reviews - Adorama Learning Center<\/title>\n<meta name=\"description\" content=\"One of the biggest advantages of shooting \u201cdigital\u201d instead of film is that you can work under all kinds of weird lighting conditions and capture accurate color without 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