If you're a photographer who shoots in auto white balance, stop. Can you fix it in post? Yes. Will it really, truly help you? No, not really. I've been very much of the opinion and idea that photographers should go into shooting with a creative vision of some sort to help them create images that are more unique to them, and a customized white balance is only the start of this--and it's bound to help you create images that someone else shooting the exact same thing most likely won't get.
One of the reasons why I use specific white balances like Daylight when shooting photos is because it tends to take the guesswork out of editing and colors. Daylight white balance is balanced to be fairly warm and to counteract the already very cool light that daylight is.
There is absolutely no reason why you shouldn't care about white balance in the same way that you care about manual control over the exposure of the image. The way that color is rendered in a photo can completely change the way that it appears and in order to get the absolute best color, you should use manual control over your white balance in the same way that you manually control the ISO, aperture and shutter speeds.
Gels are bound to scare away most portrait photographers and strobists simply because they don't understand how to really use them. But one of the coolest things that you can do as a photographer is learn how to use gels to tell a different story in your portraits and overall in your photography.
P for Professional: that's the mantra that has been preached amongst photographer after photographer simply to make fun of the idea. It's been taken so seriously that the Home Shopping network has said it at times with complete seriousness.
Lots of photographers everywhere tend to want what's called the "Blade Runner" look in their images, and what they don't realize is just how incredibly simple it is to do within the camera and not even worry about post-production at all.
I'm going to share with you a little bit of insight that the cinema industry has known for years but that the photo industry still sort of rejects in favor of innovation: and that's that Canon has been getting skin tones perfectly, absolutely right for years and that they still do.
Don't listen to anyone that tells you that wonderful portraiture can't be created during anytime of the day or night. There are great ways to shoot equally great portraits during the day or night and they don't always involve the use of a flash.
If you've been a strobist for a while, you've probably considered working with gels in some way or another. Gels are little pieces of plastic that go onto the front of your camera flash or strobe and add some sort of extra color to the output.
For the past year or so, I've been doing a special experiment with the way that I shoot photos: I've been working almost exclusively with Daylight White Balance. Crazy, right? Especially when these days the auto white balance setting seems to do such a great job.
When you're shooting during the Golden Hour, you'll probably see that one of the more challenging things to do is golden hour landscape photography. But indeed, it really isn't that difficult if you just understand how light works.
I'm going to let you in on some knowledge that cinematographers have known for years, but that photographers have greatly underutilized for a while--and it has to do with a simple white balance trick.
When is the last time you really thought about what is going on inside of your digital camera when you are taking a picture? I'm not talking about the exposure or direct photographic processes but beyond that, into the physics and other scientific processes? If you are like me, that answer is probably never, if ever.
As more and more photographers start going from digital to analog, we wanted to teach everyone about a big part of how you not only see light, but also color. Note that most film is balanced to daylight, so if you go about shooting with it in various situations, you'll probably like the results or you won't.
One of the best things that you can do as a portrait photographer is find a way to really make your subject look like they're popping off of the screen at your viewer (technically speaking of course!) With modern lenses it's very simple to do, but even if you don't have those or the latest and greatest software it's still also quite possible if you just take a few careful steps.
Quite obviously, the best way to create an image that looks like film is to shoot film to start out with; but if you don't have a film camera or aren't ready to take that dip yet, there is a basic fundamental principle that you should know.