Category: Setup

What If We Lit The Moon With A Light Bulb

What If We Lit The Moon With A Light Bulb

White balance is an interesting topic. How the colors of an image are represented are sometimes a subjective thing and sometimes not. Getting good skin colors on a portrait can make or break an image.

White balance is matching the color of your image to a known color temperature. For instance a standard incandescent light bulb has a color temperature somewhere around 2800 degrees kelvin while the sun has a color temperature between 5500 and 6000 degrees kelvin (k). These temperatures are not random numbers made up to confuse photographers. The Sun’s surface temperature is about 5773k so there is a correlation between its actual temperature and what we call daylight white balance in photography.

The lower the temperature given off by the source of the light the more orange it is. The higher the color temperature is the more blue the light is. If the light color is too low, as in infrared, the light will not be picked up by the photographic medium, as in film or a photo sensor. On the other end of the spectrum is light nearing ultra violet which is quite blue and again beyond the range of photography.

While the Sun is a main sequence star with, thankfully, a 10 billion year life cycle, most stars you can see in the sky are larger, faster burning, giant stars with surface temperatures up to 10,000k.

Our eyes and our brain do a pretty good job of correcting the white balance we see normally. Cameras can be way too literal it the way they process colors. Unless we get specific about the lighting conditions, colors in an image can be way different than what we see with our eyes.

Assuming that you have set your camera for the proper prevailing color temperature, daylight, cloudy, tungsten, etc. the colors should be pretty close to what your eyes see. If you are using an auto white balance mode on you camera the camera will take a best guess of what the colors should be.

In post processing we can adjust the color balance to what it should be or we can apply a color correction to give an image the impact that we perceived when we took the image. We use the white balance dropper in your choice of image processing software to choose an area meant to be white.

Beyond using an algorithmic method like the white balance tool, we can also adjust the white balance to suit our eyes. We can warm or cool the colors of an image by adjusting the white balance slider (and the tint slider see previous article) If an image is too warm with white things looking orange we can apply a blue cast to the image to bring it back to what we want the color to be. Alternately we can also apply an orange cast if the image is too cool.

So if we had lit the moon with an incandescent light when the color balance was set to daylight we would end up with a very orange moon like on the left side of the moons above.. To correct the color balance to get the moon back to the expected white moon we would move the color balance slider towards the 2800k side to correct the moon back to the middle ground.

And the opposite is also true, warming a color balance by introducing a lower temperature will turn the blue moon white then orange.

Creating a Style in Capture One

Creating a Style in Capture One

As stated in the previous post you can create new styles to make it easier and faster to develop an image to a specific look. You can pick and choose which adjustments you wish to include in each style. To start from the Styles and Presets panel click on the ellipses (…) on the panel header and the Save Style dialog will pop up. Select the values you want to have in your style then click the save button at the bottom of the dialog. You then give the style a name and a place to live in the hierarchy. Get verbose with the naming. If you have a Fujifilm Classic Chrome style you might want to put that in the name.

There may be some options that do not make sense or make sense only with specific images from the same camera. For instance if you have an image from a recent Fujifilm X series camera they you can apply the Classic Chrome film simulation and save it as a style. If you then attempt to use the style on an image from another non-Fujifilm camera you are not going to get the color grading that the Classic Chrome simulation provides.

Leaving the Dark Side or Working With Flash (the Dumb Photographer version)

Leaving the Dark Side or Working With Flash (the Dumb Photographer version)

I’ve been experimenting with a number of bright colored 12″ x 12″ sheets of paper that I picked up a while ago (at Michaels I think). Using flash with my FujiFilm X-T2. I was getting quite a bit of fall off from my flash from one side to the other of these small area images. At first I though I was just being bit by the inverse square rule. I thought it was a bit extreme but that was my first guess.

Then I realized that the fall off was not coming from the side away from the light but was consistently at the bottom of the frame. See shadows below to for light direction.

Light fall out = Fujifilm X-T2 XF 80mm 1:2.8 R LM OIS WR Macro

I tried adding reflectors to the dark side but still had the falloff. I could correct the images in post with a graduated filter to open the area. But it was not a perfect solution so I resorted to my, “when all else fails covert to black and white” (let’s hear it for Fuji’s ACROS simulation).

ACROS black and white conversion which looks nice even if you can see a bit of the fall off in the lower corners.

Frustrated I started out this morning trying one more time to try an figure out what was going on. The images were shot at less the the Fujifilm X-T2 maximum shutter speed so I dismissed it being caused by the shutter being set higher than the X-T2 maximum sync speed of the 1/250th of a second, above which the shutter is not open long enough to get all the image. The top image was shot at 1/60th of a second so it couldn’t be an issue with the focal plane shutter not being open long enough.

I change to front camera sync to have the flash fire at the beginning of the shutter opening and magically the falloff went a way.

Except it was. After a few more unsuccessful attemps this morning i realize that I had the flash set to rear curtain sync on the X-T2 which meant that the flash was not fired until the shutter was about to close. In fact at shorter shutter speeds the light was just not getting to the bottom of the frame.

With Scissors – Fujifilm X-T2 XF 80mm 1:2.8 R LM OIS WR Macro

Moral of the story is once again make sure you know all the setting of your camera and if the image is not turning out the way you like it, it’s probably your fault.


Time to Update Your Camera

Time to Update Your Camera

Twice a year you should, in theory, change all the clocks, ahead in the Spring and back in the Fall. Most of our electronic devices are smart enough to make the adjustment for us. Not my Fuji cameras. So twice a year we have to remember how to reset the time which is always buried somewhere on the camera’s menu system. Getting the time correct may come in handy if you are going back to a particular location several years later in hopes of duplicating the lighting you had way back then. If you know the actual time you got the great sunset by the beach is saves you from going back at the wrong time.

Here is a handy cheat sheet for the Fujifilm X-T1 and X-T2. This should be good until they decide to update the menu systems on these cameras.

On the Fujifilm XT-1
Move the cursor down to the first icon on the left with a wrench (or setup 1).
Use the dpad right key to enter the date/time setup.
Now use the dpad to move left and right and then up and down to adjust each field.  Push the OK button in the center of the dpad to lock save the changes.

Now on the Fujifilm X-T2 the same thing except the menus are slightly different.


From the Wrench icon go into user settings into Date/Time

From there changing the time is basically the same as the change time on the X-T1.

Or you can just leave the time the same all year and just mentally adjust for the time changes as needed.

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