I have a Fuji S2 that I use for studio portrait photography. I have always set the white balance using a warm expo disc with good results. Recently my background has a slight but very definite green tinge to it and lacks the full rich tones I am used to. The subject looks good however. I use a Kelly Beige background. Can you help me?
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Re: Fuji S2 white balance problem
You might be able to compensate for the flash from within the camera, under lighting. I've already found that setting it for fluorescent while using tungston works well, depending on what main colors you are shooting. Reflectivity can really change a final product.
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You can't. The Portrait mode, like all the other point&shoot modes, are automatic. The camera controls most functions, like exposure metering, auto-focus mode, and white-balance. If you want control over the camera, you'll have to use one of the PSAM modes.
Could be a white balance setting or you've accidentally engaged a digital filter. You could try a camera reset. Go into the setup menu and scroll to "reset". This will take you back to the default settings.
You are not doing anything wrong with your white balance, white balance is very difficult under water, and you should be careful, because your mask might be tinted a certain color, I reccommend leving you white balance normal, then adjusting in photoshop, take a white object down there and hold it over a non important part of the picture, to help with adjusting in photoshop, then crop the object out of the final image. Focusing underwater is difficut as well, as dater distorts light, there is nothing that you can do to keep the water from distorting the light, but if you go to apeture priorities, you can increase your apeture to between f7.2 and f11 to reduce blur (to keep the picture from being too dark and the shutter from being too slow, you can increade your ISO)
The Fuji S2 sensor is noted for this red sensitivity. Here's a few different approaches to getting the shot with the S2, all of which require some experimentation.
1. Set the "Color" and "Tone" Function options to "ORG". Underexpose the shot. Progressively change the exposure compensation downward until when checking the histogram, the red channel does not show saturation at the high end. Advantages: this is the simplest approach to getting the picture. Disadvantages: the S2 already had a fairly limited dynamic range, and this will make things worse for the parts of the photo that are not red. For the surgical setting and use of a ringflash, this may not be much of a disadvantage, since a lot of the stuff of interest will be red, and ringflash illumination generally is of lower contrast than directional lighting.
2. Set the "Color" and "Tone" Function options to "ORG". Use a custom white balance. The idea here is to have the camera adjust the red channel sensitivity itself, and leave the blue and green channels alone. To do this, start with several sheets of white paper and a red or pink marker or highlighter. Scribble with the marker across a sheet, then use that to set a custom white balance. Take a test shot of the red stuff that has been problematic, and see whether the histogram for the red channel shows that there is no saturation at the high end. Repeat this with progressively more red or pink on each sheet used to set the custom white balance until you find the custom white balance that takes enough of the edge off the red channel response. Alternative: I just tried out making a gradient across an 8.5x11" sheet of paper going from white to about 30% red saturation. I can set more or less red adjustment in a custom white balance just by pointing the camera at different parts of the page. This seems to work OK for me. Advantage: can allow the full dynamic range of the sensor to be used. Disadvantages: the experimentation period is likely to take a while to get the best results, and the final images are unlikely to look completely natural.
3. Set the "Color" Function option to "B/W". Use a green or cyan filter on the lens to cut the amount that the red color channel contributes to the final image. Advantages: this is fairly simple as an approach. A similar post-processing technique can be applied to the photos that you already have, by nulling out the red channel contribution and desaturating the blue and green channels to produce a grayscale image. Disadvantages: you lose the color information entirely. Since much of what you want information about is colored red anyway, the organs are likely to appear quite dark when only taking the blue and green channel contributions to the image.
1. Just use the Daylight (direct sun) white balance setting. Electronic flash is typically close to the direct sunlight setting for white balance. Advantages: it is simple. Disadvantages: if you are balancing electronic flash with ambient light, you are likely to have an odd mixture of lighting, with the ambient lighting tending toward red (if incandescent) or green (if flourescent).
2. Get a Wratten 85 color correction gel that you can cover your flash's head with, and use the Tungsten white balance setting. This will bring your flash output into line with existing incandescent light sources. Advantages: almost as simple as (1), and allows you to come close to matching a common indoor lighting situation. This will produce more natural-looking environmental shots if you balance the flash and incandescent ambient light contributions to the exposure. Disadvantages: large gel filters get expensive. You may be able to obtain something close to the Wratten 85 color correction filter from a theater supply house more cheaply. Roscolux #3408 is slightly weaker and #3411 is slightly stronger than the Wratten 85. If you have to balance flash with flourescent light sources, try a Roscolux in the cyan series leading to #4360. Some experimentation is likely to be required. The place I looked online offered the Roscolux in 20x24" sheets for about $7 per sheet, a bargain compared to the optical-grade Wratten filters.
3. Set a custom white balance. This is not too difficult, and it will definitely provide the best approximation to your desired white balance that you will obtain in the field. Advantages: this will allow you to reproduce white accurately even with mixed lighting sources. Combine with gel over flash of (2) for the very best approach to balanced flash/incandescent lighting situations. Disadvantages: requires a "white" target (can be a neutral gray photo card, for example) and some additional time before a photo session.
You can obtain some striking effects by purposely mixing color temperature light sources. But day in and day out, getting a balanced shot is a skill that it pays to cultivate.
Try setting the white balance to fluorescent an compare. Also you could set your own white balance preset by shooting a white card as per page 59. Lastly you can play with the "tone adjustment" on page 80.
Let us know how you get on!
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F1 or 4 are white balance memories, rather than buttons to set the WB.
Menu > Custom WB > Right Arrow > Select F1 or F4 >
Then put your piece of white card in front of the lense and hit the shutter button. Make sure you haev enough light though !
With your D200, you can use the kelvin temperature mode instead the other. As I work in TV where we do the white balance very often, I can guess what's the Kelvin temperature when I shoot. I only use Kelvin now on the D200 and it's more reliable!
F1 simulation mode suppresses flaring in flash highlights when the flash is used and stresses smooth tonal transitions in the reproduction of skin tones. It is ideal for portrait studio work where the aim is professional standard negative (i.e. Pro Neg Film).
F2 simulation mode provides vibrant reproduction of natural colors such as blue skies and is ideal for landscape and nature photography. Almost like shooting with slide film (i.e. Fuji chrome/ Velvia)
Note: Color spaces needs to be set on sRGB and D-Range set to wide in order to use these modes. Color, Tone and Sharpness cannot be changes in any F simulation mode.