All right. So I did want to clarify a couple things about white balance. Um, and one from l came. Why again are you, um, fixing the white balance in camera instead of using post processing? And so and also then, do you when you when you are manually adjusting the white balance or you doing that for every scene or every shot questions So regarding manual white balance changes because we want to reduce the amount of time we spend in post, right. If we can dial it in in camera, then that's one less thing we have to do in post, and it saves a dramatic amount of time. So the way that we do it is we do it from scene to scene. So as soon as the or you can think about it from seeing the scene or from light change toe light change, right. So if you're standing in a scene and clouds go overhead and block out the sun, think to yourself. I need to reevaluate my exposure and my white balance. Just parrot with exposure. Anytime you're tweaking exposure, just double check your white balance, okay? An...

d that's the easiest rule of thumb because, most likely, if you walk indoors to outdoors, you have to tweak your exposure. If the color changes in a room, you're gonna tweak your exposure. So just think of it as one additional thing to change in camera. Now we shoot raw, which means that if you're shooting J. Peg, there's nothing wrong with JPEG, right? J peg in camera because it presents to us an easier format to shoot with. In terms of it's ready to go. We just shoot it, the camera, process it and we can do whatever we want with it. So again, when we talk about the family barbecue, when we talk about those kind of moments in life where you just want a document and you don't really care toe go through an edit every single photo, why not use J. Peg? Just dial in your settings in camera and have him good to go correct. As soon as you get onto a shoot and you're delivering something for a client, flip back to raw. What Roz gonna give you is more dynamic range, so you can do a better job getting to the colors that you want. It's gonna give you Mawr. Really everything. More flexibility in your exposure. More details in the shadows, more details in the highlights. It's It's a better format, and it gives you full control over temperature and white balance in post, whereas with a J. Peg Have you guys noticed that when you tweet temperature and tent and as a JPEG, what it's doing is actually just basically overlaying color over what's there When you tweak Iraq, it's actually changing the in camera white balance. Cool. One more question and then we'll go to you. Would you ever use a color checker passport? And what is that color checking passports Really nifty little things I do use them in the studio. Like if I'm shooting in the studio, it's just a little card that you can hold up in camera, and so you just have someone hold up. You take a picture with the card after you've set your lighting. Okay, uh, and then what you can do is you can literally just click that little button. There's a little white balance button inside of light room, and you can go drop it right onto the color checker passport and get your white balance so It's a way of getting a perfect white balance every time Now. I don't generally use it on shoots for family and wedding and that kind of stuff, usually because we don't really need to like it's. We don't have to be that precise with it. I like my family and all my portraiture to be a little bit on the warmer side. I'll dial it in just with my I toe. What I think looks good, and that's what I'll do. And if I'm in a situation with tricky white balance, you can oftentimes find something in the scene that's close toe white or close to neutral. It could be like a darker shirt like you could actually take a white bounce reading off this shirt. It doesn't have to be white. It just has to be close to neutral. And then, of course, it's not gonna get you spot on. So then you just do a little bit of tweaking afterwards. CO. So I was wondering about the white balance shift, um, that you have on your menu there. One of the problems that I have is, uh, like reds in floral arrangements, um, coming out looking crappy Yeah. So would that be a white balance shift? Or would that be somewhere else that you would Ah, attack? That you totally could do. And that's not an uncommon thing. Reds have been an issue with digital since Digital has been out red. Just get they get crazy. Um, so, yes, you could do with white bound shift. The general rule of thumb is your reds are going crazy because you're shooting too warm on your Kelvin like you're too high. So if you dial back the Kelvin, usually it fixes that. And then in post, you might just knock the vibrance down a little bit or or just go into the HS. Ellen pull the Reds down a little bit. Saturation wise. That makes sense. That's probably the easiest way toe fix that.

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Pye Jirsa

Pye Jirsa is a lifelong learner who has made a career out of creating frameworks.  These frameworks have helped millions learn languages, develop creativity, master photography, succeed in business, and even improve their communication within personal relationships.

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topics covered in this class

Lighting Portrait Photography Fundamentals Beginner Free Photography Classes

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Pye is an awesome instructor! He explains everything in a way that you understand it. He is a wealth of information. Love all of his classes!! I love Creativelive and SLR Lounge! Continue doing the great work that you do!!

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White Balance and Color Correction in Camera

White Balance and Color Correction in Camera

Lesson Info

5. White Balance and Color Correction in Camera

Lessons

Class Introduction

Highlight Alert, White Balance, and Bracketing

RAW vs JPG and Mirror Lockup Function

Which is Better: sRGB vs Adobe 1998?