Asked by Steve Mazzarella — 2 Jun 2011
3,604 Views, Asked 4 years, 11 months ago
Tricia Bergland(deleted) said:
Have you tried using a gray card?
4 years, 11 months ago
Steve Mazzarella said:
I will try the grey card and let you know. Thanks for your idea.
Ethan Lobodin said:
Monitor needs calibration perhaps?
Mel Stoutsenberger said:
Could be your camera's color profile, try setting color profile set at Adobe RGB 1998.
4 years, 9 months ago
Vin Weathermon said:
"Where" do you see the blue cast? On the Camera, in photoshop or photo editor, on prints? Each thing has a profile. They all need to "agree". If it looks blue in your camera; does it look blue on "auto"? with the same white card?
Lucia Mondella said:
With Nikons if you read the light from a white card and select the PRE option, the camera will read the same white balance going forward until you re-set your white balance reading. If you're shooting RAW images and both aperture and shutter are in manual mode, the white balance you selected does not count. If you're shooting only in jpeg, I find that adjusting the white balance based on the Kelvin scale is a more efficient way to get accurate readings of the light.
With that said, I've been using Nikon for a few years and I do not like the color space that Nikon has, I think that Canon gets a much more accurate reading.
If you're setting the white balance using a white card instead of a grey card, it is possible that your camera compensates for what it thinks it's the wrong starting point (the white balance read off a white card).
4 years, 7 months ago
Ramir Delgado said:
In the morning, the light will always look blue. During the afternoon, the light will be more orange. Set the WB, to sunlight instead of Tungsten (W).
4 years, 6 months ago
Michael Stafford said:
use an 18% grey card, or buy an 18% grey ball cap from the Eastman Museum
4 years, 3 months ago
Herb Quick said:
Use a calibrated monitor to view your images.
Even in a sunny day situation, shady area will appear blue.
All digital imaging devices create a color cast. Calibrate each piece of equipment in your workflow, and be aware that the color temperature of light changes with the light sources and conditions.
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