D200 users: Do you usually use the Auto WB?

[Spectrum]

I believe some flash are warmer than others... for e.g. some wedding shooters favour Metz flashes as they produce warmer colours...

Metz flash is to a warmer side due to the reason that when shooting people with fairer skin tones, it will render out a more pleasing color instead of looking pale. So a little warm light added to to it will make some difference & that's the reason why.
Anyway, heard this from someone else. LOL:bsmilie:

PS: Sorry for the OT.

 

[Spectrum]

Are you using Adobe RGB? If yes, change to sRGB and it should appears as purple.

Thks dude, is sRGB I'm shooting all the time. Somehow, purple color (esp. light source) will render out almost (70%-90%) blue in it. Just couldn't figure out why is that so. Hmmm....:think: :angry:

 

[lsisaxon]

Thks dude, is sRGB I'm shooting all the time. Somehow, purple color (esp. light source) will render out almost (70%-90%) blue in it. Just couldn't figure out why is that so. Hmmm....:think: :angry:

Because of the filter set used on the CCD. The violet light wasn't able to activate the red sensors because it wasn't designed to pass violet light, so you only activate the blue sensors and you get only blue.

 

[Spectrum]

Because of the filter set used on the CCD. The violet light wasn't able to activate the red sensors because it wasn't designed to pass violet light, so you only activate the blue sensors and you get only blue.

Can this be rectify by NSC? Is OK if you don't have answer for that. Cheers dude!;p And thks for explaining.

 

[lsisaxon]

Can this be rectify by NSC? Is OK if you don't have answer for that. Cheers dude!;p And thks for explaining.

I think it affects all digital cameras using the GRGB filter set. I don't think anything can be done short of a sensor with filter sets of other colours or designing the R channel to be slightly sensitive to the violet spectrum so that it adds in that reddish tinge back to the blue.

 

[gooseberry]

Actually, it's not just digital - purples have been a problem with even colour films.

Also, you may want to read up on this article regarding the colour "purple" - Do you believe in purple ?

 

[Ansel]

Perhaps the word is not "rely", but AWB is the default setting on my camera. I find the D200AutoWB is much better than the D70. It is correct 90+% of the time.

 

[EdOkH]

Perhaps the word is not "rely", but AWB is the default setting on my camera. I find the D200AutoWB is much better than the D70. It is correct 90+% of the time.

Yes, only on certain lightings, the wb is a little tricky.

 

[camelot88]

Yes, only on certain lightings, the wb is a little tricky.

For me I make a concious choice to set the WB manually depending on conditions as AWB does not always get it right.

One particular quirk I noted was the need to change to the lightbulb WB mode instead of flourescent lighting WB mode when shooting in the warmer (more yellowish) flourescent lights that many homes use today instead of the usually harsher (whiter) traditional flourescent lamps.

 

[Squid]

One particular quirk I noted was the need to change to the lightbulb WB mode instead of flourescent lighting WB mode when shooting in the warmer (more yellowish) flourescent lights that many homes use today instead of the usually harsher (whiter) traditional flourescent lamps.

The several types of fluorescent lights available in the market are warm white (operating at 3,000K colour temperature), cool white (operating at 4,100K colour temperature) and daylight (operating at 6,500K colour temperature). More details at Wikipedia

Nikon camera's fluorescent white balance sets colour temperature of 4,200K for fluoroscent light selection +/-0 setting and 3,000K for +2 setting. IMHO, fluorescent +2 setting may give you the same result as Nikon camera's incandescent (or light blub ) +/-0 setting (which is set at 3,000K colour temperature) when you are shooting under warm white fluorescent tubes operating at colour temperature of 3,000K.

Hope this may explain the quirk that you mentioned.

 

[calebk]

The several types of fluorescent lights available in the market are warm white (operating at 3,000K colour temperature), cool white (operating at 4,100K colour temperature) and daylight (operating at 6,500K colour temperature). More details at Wikipedia

Nikon camera's fluorescent white balance sets colour temperature of 4,200K for fluoroscent light selection +/-0 setting and 3,000K for +2 setting. IMHO, fluorescent +2 setting may give you the same result as Nikon camera's incandescent (or light blub ) +/-0 setting (which is set at 3,000K colour temperature) when you are shooting under warm white fluorescent tubes operating at colour temperature of 3,000K.

Hope this may explain the quirk that you mentioned.

IIRC, daylight is 5,600 Kelvins, not 6,500.

 

[Squid]

IIRC, daylight is 5,600 Kelvins, not 6,500.

Wikipedia does discuss about several "daylights"

5,000K : Daylight or D50 (US standard)
5,500K : Average daylight (or electronic flash color temperature)
6,500K : Daylight or D65 (European standard)

 

[calebk]

Wikipedia does discuss about several "daylights"

5,000K : Daylight or D50 (US standard)
5,500K : Average daylight (or electronic flash color temperature)
6,500K : Daylight or D65 (European standard)

Ahh okay. I see. In film school they just teach us 5,600K. :dunno:

 

[clubgrit]

I don't know about the Metz being warmer, but in TTL mode I prefer the Metz over the SB-800 (for non-CLS use), as it still allows some of the ambient light to be captured. Like the yellow light from a lampshade in a dim room. The SB-800 will makes the room seem like it was illuminated in full daylight, and the lampshade will be shown like having no light at all. With the Metz, the room is nicely illuminated, but one can still discern the yellow light and glow from the lampshade ... a matter of taste, I guess.

Another advantage is that the Metz has SCA adaptors for all the cameras I use. The problem with the Metz, not as well-constructed. On/off button for example is now giving problems after only a few months, one of the non-critical parts (more like an aesthetic part) fell off ...

As for White Balance, I still like to manually set it with Expodisc or a grey card, over AWB, preset ones, or fixing RAW using Nikon's software (unless I had forgotten to manually set the WB, which happen sometimes). I just find them more accurate, at least indoors under any type of lighting.

Metz flash is to a warmer side due to the reason that when shooting people with fairer skin tones, it will render out a more pleasing color instead of looking pale. So a little warm light added to to it will make some difference & that's the reason why.
Anyway, heard this from someone else. LOL:bsmilie:

PS: Sorry for the OT.

 

[waynem]

You have D200 and dont use Raw?

Why not? seems like a waste not to use Raw all the time.

 

[Bonkers]

I set mine manually in tricky lighting. I use a D80 by the way.

Ow.. and purple lighting sux. Took some pics at an event where the ballroom lighting was purple. Turned out like the colours in the movie Cocktail. Horrible! ;(

 

[XC Pictorial]

You have D200 and dont use Raw?

Why not? seems like a waste not to use Raw all the time.

Because when you cover events and shoot like 4-500 shots in a day, and your clients only need JPEG fast in a DVD, there is no point wasting your time and storage on RAW.

 

[jmmtn4aj]

This one is set on the "Pre" function.

I find it nice...

Hope this helps... Me still venturing into the depths of the camera functions...;p

Do you resetup the WB every time you shoot?

 

[EdOkH]

Do you resetup the WB every time you shoot?

I would still try out the AWB, the type of lighting WB, and if all else fails, then i'll go for "Pre"

 

[Spectrum]

Because when you cover events and shoot like 4-500 shots in a day, and your clients only need JPEG fast in a DVD, there is no point wasting your time and storage on RAW.

You got the point there bro. Why shoot RAW if they pay you JPEG amount.:think: