The Auto-White balance should have no effect at all since I only shoot RAW.
I'll try to digest the rest of this later ;-)
THANKS!
Tina
On Thu, Jun 26, 2014 at 8:11 PM, Moose <olymoose@xxxxxxxxx> wrote:
> On 6/26/2014 1:49 PM, Tina Manley wrote:
>
>> Yes, I like Moosed best.
>>
>
> Thanks.
>
> You know, I've been wondering about the color on some of your recent
> images. One will be really warm, then another quite cool, in ways that
> don't necessarily make sense to me from subject, lighting, etc. I finally
> got around to looking at some EXIF. At least for the Vietnam shots I
> checked, both M9 and 240 have Auto WB set.
>
> That means the camera has to figure out the nature of the subject color
> and choose a WB setting. Some of the big makers have analyzed thousands of
> images to make their Auto WB more accurate. Even so,a large portion of one
> color in the frame can fool them. Most of the trouble with color in Taking
> a Break may simply be due to the large, bright green fence area. I'm
> guessing that shot with Daylight WB would have been good out of the box.
>
> I don't know how Leica does it, but the cameras I've used adjust not only
> color temp, but green-magenta tint. So if it gets fooled, it can be really
> hard to fix it once it's baked into a JPEG. Working with Raw files, ACR can
> be used to set daylight WB* for the camera, but by default, it will use the
> settings the camera put in the file.
>
> It could be interesting to see what the Daylight setting in ACR does with
> Taking a Break. Do be aware that some green in the shadows on her side/back
> are not a camera/processor problem, but reflected light from the fence.
>
> I've found I get more consistent color that makes more sense to my eyes by
> setting WB on my cameras to Daylight for virtually everything I shoot
> outdoors, and even most mixed lighting situations with some daylight in the
> mix. It's been a long time since I shot Auto, but I do recall some
> odd/puzzling results.
>
> I know a lot of other people do this, too, including some/many on this
> list, based on prior posts. You are not likely to see much difference with
> an ordinary, sunlit scene. You may want to test to see how Daylight
> compares to Auto on some trickier shots with different light, large patches
> of artificial color, etc.
>
>
> How do you move the focal plane?!!
>>
>
> Simple in principle ... I sharpen (well, deconvolute) to get the best
> result for the focal point I want. For Sidewalk Cafe, that's pretty easy.
> For Taking a Break, the forward eye is far enough OOF that, at least on the
> small JPEG, I can't get quite the result I want without some artifacts.
>
> I then either select the area I want sharper and make a mask from the
> selection or make a black mask and paint in the areas I want sharper,
> usually some combination.
>
> I make another layer, blur it, and, as for sharpening, make a mask that
> softens the areas I want.
>
> It takes practice, and some, like Sidewalk Cafe, require some finesse, as
> more than just the woman's face needs adjusting to look natural. In this
> case, door, her legs and feet, the paving stones, etc. all have to move.
> There are flaws in my example. I would put more effort into defining a good
> focal plane for a display image.
>
> For a complex image, there may be a fair amount of painting sharper and
> softer layers in and out with a soft, low flow brush.
>
> If possible, it's way easier to get the focus right in capture. :-)
>
> Eyes Have Moose
>
> * At least Adobe's idea of daylight for it. It's also possible to find out
> what color temp the maker thinks is right and set that.
>
>
> --
> What if the Hokey Pokey *IS* what it's all about?
> --
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>
>
>
--
Tina Manley
http:// <http://tina-manley.artistwebsites.com/>www.tinamanley.com
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