50

This is called a color cast. As others have said, it is a result of an incorrect white-balance. Your camera is assuming that light is of a different color than it is and is compensating for that, resulting in a color cast. It can happen with any camera. Some Automatic White-Balance systems are better than others. A long time ago, some cameras had dedicated ...


38

but why i can see little bit of orange color with shutter speed 1/400 ? My best guess is that you had the camera set to automatic white balance (AWB). In the 1/200s shot, the moon was bright enough to easily be the brightest thing in the frame, and the white balance algorithm decided that that object was most likely to be white. In the 1/400s shot the ...


38

No, it won't work. The gray card works by reflecting ambient light (here "ambient" is used to include whatever flash, gels, etc. you're lighting your scene with other than the phone). You know it's supposed to be gray, so the difference between what you get and gray is the correction you need to make. By emitting pure gray light (assuming your phone can do ...


35

It is related to a heated substance, albeit in a somewhat theoretical way. The substance is an ideal incandescent black body, which would radiate a given color within a given color space at a given temperature. The location within the color space vs. temperature is called the Planckian locus, and I don't claim to understand everything in that article, but ...


29

The white balance should be indicated on the box and the datasheet for the film. There aren't too many choices though. Most films are daylight balanced for shooting in direct sunlight (approx. 5000K). If you were shooting in open shade (approx. 6000K), you were expected to use a slight warming filter to get rid of the blue cast. If you shot daylight-...


27

Wikipedia's introductory statement on color temperature relates them quite well: The color temperature of a light source is the temperature of an ideal black-body radiator that radiates light of comparable hue to that of the light source. Black body radiators are an idealized concept, that radiate an energy spectrum with a peak intensity at a frequency ...


26

This is actually fairly easy to test, and so I did. I used my Pentax K-7, so this doesn't speak to all cameras, but I think at least many work the same way. I worked in a dark room, lit only by an iPad app which simply turns the whole screen a certain color. I put the camera close enough to the screen that the color filled the entire frame, and, although I ...


25

What is going on? I compared both pictures of the field (left out the one with the tractor, as it suffers from the same problem as the other over-exposed picture, IMHO) in After effects. The image above is a composition of all that I did: First, the composition of both your original images that I made in AE (white canvas added only here), then both ...


22

But there is nothing objective about perception. If the goal is to attempt to reproduce the perception, the closest will be to set the white balance from a grey card which is not directly lit with the Sun.


20

Sounds a bit iffy to me... A card, by itself, DOESN'T have a fixed L*a*b* colour - that's a product of the reflectivity of the card at different wavelengths and the intensity and wavelength distribution of the illumination. In the dark, L* will be 0. Light it with a coloured light and your a*b* will change. Light it with a "white" light with a different ...


18

Digital color works by separating light into three channels: red, green, and blue. This roughly mimics the way the human vision system creates the perception of color. Our vision system compensates inherently for different-colored light sources using environmental cues, but when you look at a digital or printed photograph, those cues aren't there, so we see ...


18

Ahhh...the "curse" of auto-white balance. I don't use AWB and ... based on reading, it seems like few photographers suggest using this feature. You did not mention a camera brand-model ... but that information would likely not change the response. If you shoot 'RAW' (which preserves the maximum amount of data and post-processing adjustment ...


17

As you say, white balance is a subjective game. The only way to do this in anyway objectively would be to process your photos in conditions where all the factors affecting subjectivity, i.e. the colour temperature of the ambient light, is the same as when the photo was shot. In my Canon 5D Mk III, for example, this could be done as follows: Shoot the ...


17

The colour temperature is related to the black-body radiation produced by hot objects. The black-body radiation curve, shown below, shows the approximate intensity* curves at each wavelength for the radiation emitted by bodies at 5000K, 4000K and 3000K. * It actually shows the spectral radiance curve, which is a kind of flux. But you can think of it as an ...


17

This is the situation when you use fill-flash. Contrary to common belief, flash is NOT to be used in darkness. In darkness flash lights up the foreground and leaves background pitch black. Flash is best used to outshine bright light you can't control (like sun) so you can bring dark foreground up to bright background. This will most likely create white ...


17

Tint is the green-magenta axis, temperature is the blue-amber axis.


16

Ideally, you're shooting in an environment with controlled lighting (a single light source, or several tuned to same color temperature), your subject and black or white surfaces only. In this case, the angle does not matter - just take care that its exposure falls somewhere in the middle in your test shot (so you're not accidentally clipping a channel). In ...


16

The camera can not alter the spectral sensitivities of the sensor, those are baked into the chip. What actually happens depends on what format your saving files in. If it's a Raw file format, what happens is the cameras white balance setting is recorded in the raw file for a raw file processor to use to create that white balance. If you're writing ...


16

Don't use auto white balance - choose a color temperature that looks well and stick to it (or use a gray card if the color accuracy is important) Close all the windows - the daylight color changes based on weather, if possible use only flashes and photographic color balanced lights, if you must use normal indoor lights try not to change light bulbs, if you ...


16

My monitor is calibrated (less than a month ago). I see the white/gold dress, but the highlights on the white piping have a blue tinge to me. However I have seen pics of the (supposedly) original dress, and it is a deep blue and black. To me, the only way I can reconcile this pic, and the pic of the actual dress is that if this pic was taken with a really ...


16

There's no one way. Personally I find digital frees me to defer choices until after the shot. Not only that but I can "discover" new interpretations of a scene with different crops, different toning, color and contrast. So I'd suggest what you need to do is shift your perspective. Many people resist post processing as if it was an annoying nuisance. I'd ...


14

The color correction is acting as expected. The point of using a color target is to adjust for the color of light to assume that the light is white. If you want to have the color that is present when shooting, you should instead use a fixed white point that you consider to be standard white, but naturally people's eyes will adjust quite a bit for the color ...


14

The color rendering of a film has to do with both color balance and the specific color response curves of the emulsion. This said, almost all the film stock produced today is daylight balanced, making it pretty difficult to find tungsten balanced film (which gives you strong blue cast if shot under sunlight). The subtle differences that you observed have ...


14

Your camera, for whatever reason, is setting the color temperature and white balance at different points for the two images. That gives it what we often call a color cast, tint, or hue which simply means the white balance used to interpret the raw data from the sensor was not correct for the light that illuminated the scene and gives it a predominance of ...


12

Our eyes and brain do things on a daily basis that make LSD's effects seem relatively tame. One of the things our brains do is a color balancing activity of their own. No one knows why for certain, but its theorized we do it so that it would be easier to track prey as they dodge in and out of shadows (prey reflect the blue sky while in the shadow, so they ...


12

Auto mode is auto exposure, and it also always uses auto White Balance and auto ISO, which cannot be turned off in Auto mode. Auto mode is "auto everything". The A,S,P,M modes only set exposure, but can also use these Auto WB and Auto ISO if you enable them, however they can also be turned off. Probably are not on by default. This can make a big difference,...


12

This frequently comes up in photographic reproduction jobs where one is trying to closely approximate some other object such as a painting antique drawing. This cannot be done with typical photographs even when adjusting them to a specific, matching, LAB color. Regular photographs increase color saturation and tailor contrast, boosting the midranges and ...


11

To make another point to what coneslayer said, the "white ballance" of film is very subjective unless that film is ultimately viewed directly, like slides for example. In the case of negative film from which a print will be produced for final viewing, it's not that meaninful to talk about "white ballance" of just the film because there is large latitude in ...


11

The phenomenon you describe is called color constancy, and it is enabled partially by the human vision system's chromatic adaptation and partially by something I will describe using the scientific term complicated stuff in our brains. That may sound a bit glib, but this is actually a complicated topic with whole books just scratching the surface and ...


10

Different lenses have different transmission curves regarding to different wavelengths. This will be more visible with older lenses, which can have a significant yellow cast. In macro/close-up photography, a lens of different color or size can affect the light that reaches the subject. In most cases though, the differences are negligible. Different light ...


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