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Thread started 18 May 2013 (Saturday) 08:42
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1DIII white balance problems

 
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May 18, 2013 08:42 |  #1

I need to shoot wedding pics later today and last evening I tried to nail down settings for flash shots in the church. Most lighting was fluorescent of varying colors. Everything was yellow(too warm). Tried all kinds of fixes with white balance settings and nothing seemed to be accurate. Flash is a 580EX. I would really appreciate any help you might provide. I can probably fix all in post, but I prefer to be closer to natural to avoid lots of processing.Thanks all.




  
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Left ­ Handed ­ Brisket
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May 18, 2013 08:45 |  #2

can you post some of your test shots?


PSA: The above post may contain sarcasm, reply at your own risk | Not in gear database: Auto Sears 50mm 2.0 / 3x CL-360, Nikon SB-28, SunPak auto 322 D, Minolta 20

  
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rrblint
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May 18, 2013 10:19 as a reply to  @ Left Handed Brisket's post |  #3

Unless you gel your flash to match the ambient lighting or use the flash to simply overpower the ambient lighting, you will have problems with WB even when adjusting in post.


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John ­ from ­ PA
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May 18, 2013 12:04 |  #4

Check http://www.ephotozine.​com …o-colour-temperature-4804 (external link). Note that the yellows tend to be around 4000 deg Kelvin color temperature. Tube type "cool white" fluorescents are 4100 deg so that might have been what you encountered. Try setting for color temp or as someone suggested just have the 580EX overcome the ambient. If you depend too much on the FL's you might get some banding depending on shutter speed. White balance can be corrected in software, FL banding usually yields a wasted image.




  
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John ­ from ­ PA
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May 18, 2013 12:11 |  #5

Here is what Ken Rockwell says. What he is basically doing is filtering the strobe light to match the ambient FL light temperature.

"If you change the white balance to tungsten or Fluorescent the backgrounds will look normal, but now the fill light on the subject will look blue or purple. Not good.Here's the trick from Hollywood: you need to gel (filter) the flash to match the ambient light and then set the white balance for that ambient light. Now everything will look normal. You could gel all the ambient light to match the flash instead, but that's a lot more work since there's a lot more lights. In Hollywood movies we'll spend a day gelling all the different kinds of lights and even gel set windows to make outdoors match tungsten. (The funny part is Hollywood is still based on gelling everything to tungsten, since that's the film we shoot, but almost no lighting is tungsten anymore.)The best place to buy gel filters, which are just colored sheets of plastic, is your local theatrical stage and lighting supply store. They are a couple of feet on a side and cost a few bucks each. You cut them with scissors and tape them where you need them. Popular brands are Roscoe and Lee. You can get a free sampler from these stores to try out which color works best before you blow a whole few bucks on a full size filter. In the stage world we worry about selecting from among the hundreds of colors they offer. Get the book for cinegels color conversion and correction filters."




  
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Jim_T
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May 18, 2013 13:27 |  #6

For complex lighting situations, I use an Expodisc. I take a shot with it in place and then use that image as the white point. I can use it for custom white balance, or choose it later in my RAW post processing and apply it to all the images I took.

My grand daughter was involved in gymnastics.. The gym had a mix of incandescent, fluorescent and mercury vapor lights as well as a row of windows near the ceiling letting in sunlight. I tried a grey card, but it was next to useless. The Expodisc has never let me down.




  
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May 18, 2013 14:22 |  #7

Thanks to all. I'' try to find my old Expodisc. I just didn't know if it would work with the lighting I had to cope with.




  
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1DIII white balance problems
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