I was out at 3:00 am in the morning a few nights ago doing a little light painting and some milky way night shots. At one time, I was at a ranch, lighting an old carriage with the Tetons in the background. There were two large street lights over the barns and corrals casting light across the scene, almost all behind the carriage. The long exposure picked up the remnant light in the pasture behind the carriage. These lights were a little different from each other, but both had a slightly blue green hue to them. I was shooting in RAW, so I attempted to color correct the shot in LR and Photoshop, but I am not 100% satisfied.
A few weeks earlier, I was doing similar shots at Leek's Marina during the night. At the boat dock, there was a street light putting out a very harsh orange light. Similar issues. If I adjusted too much with lowering the Kelvin, some parts turned really blue while trying to neutralize the orange.
Another time, I was photographing the rock wall and entrance at the old prison in Boise at night. That place has a light that put out a severe green cast.
To be honest, I probably did about the best that could be done in post production, but it seems like a reasonable question to post here to see if anyone has suggestions. I know I can put the camera in Live View and adjust Kelvin settings in the camera manually until it looks right. Some of these issues seem to be more related to the green/magenta side of things vs the blue/yellow I can control with the Kelvin settings.
I have a D4 and a D800. I hope this is the right forum to ask the question. It didn't seem like a speed light issue.
This is a post processing question, not a camera question, but my thought is to use the adjustment brush in LR to change only the areas that are affected by each type of light. This is more effort than just changing the white balance of the frame globally, but you have a difficult situation here. Consider how difficult this would have been using film...
_____ Brian... a bicoastal Nikonian and Team Member
My gallery is online. Comments and critique welcomed any time!
Hi again, I am a big Dave Black fan. His premise is to do EVERYTHING he can in camera humanly possible so he only has to pass his TIF or JPG to his editor. I adopt this philosophy as much as possible, but I am not bound by it. So, I believe it IS a question to ask in a forum dealing with settings and exposures. This set of circumstances might push the abilities of the camera, however. If there is a White Balance forum, it might go there, but I am interested in a magenta/green adjustment in the camera, if there is one.
In the D700 and D3s one would go to the shooting menu/white balance and press the joystick to the right once to get to the white balance setting. For each setting one more press to the right puts you into the fine tuning area with a grid where you can adjust the magenta/green and the blue/yellow by six steps.
Of course you can adjust the blue/yellow by holding down the WB button and spinning the front dial.
Jim, I believe your answer is the one I was searching for. I hadn't been that deep into the menu to see that option. I'll read the manual on that section later. The D-1, D-2, D-3, and D-4 quadrants aren't initially intuitive. D-4 looks like default with 0,0 set in the graph.
I think this setting would adjust the green light on the prison wall, but I am pretty sure I would need to do the other two in post processing and use layer masks on the adjustments.
Jim, I had a few minutes to read a PDF on the subject. Seems like a strange naming convention, but the d-1 thru d-4 numbers are presets a user can save on a D4. There is a place to label the various presets, and a way to call them up by using the dials on the camera. I now need to actually set a couple of them to offset green.
I will also look over the fluorescent settings. That might be easier, too.
What you are talking about now is where you actually measure the existing light and save it as a "preset".
This is not what I am talking about at all. See my reply #4 above. Check in your D4 menu on the camera and follow the steps so you will be familiar with what is available to you. The "preset" path can also work just fine depending on the conditions.
Jim, I am glad I asked this question here. I know a lot more about the camera as a result.
Just before bed, I did a few tests last night. It appears there are multiple ways to adjust the green/magenta, including the option to save presets with the adjustments and even name the presets.
In my test, I created a d-1 preset with Magenta +6 and named it that way. I named d-4 as Default with no built in adjustments. And I was able to press the WB button and toggle to PRE, then pick from any of my four saved versions.
There was also an option to do an automatic WB capture/reading and save it as one of the presets.
And as you mentioned, there is the other option to set the WB in both color groups, including the option to adjust the Blue/Yellow in much smaller increments.
We are definitely on the same page with different ways to getting to the end.
Later today, I will look into the other WB options.
In some of the night sky, milky way photos, you often get a green shift in the sky, especially along the horizon. Being able to set the magenta higher would offset the green and make the sky richer.
I never knew there was a White Balance "bracketing" option either.
At lunch time, I sat with the camera and toggled through the Sunny, Cloudy, Flash, etc settings. It looks like you could take over any of the little icons and apply any setting you wanted, then dial it in at any time. That'd work as long as you were the only person using the camera body or as long at they didn't dial in fluorescent and get a severe green cast as a result of the overridden settings. Of course, it is only a WB setting if shooting raw and could be easily fixed.