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on Sep 18, 2019 in WRP Ed Zone

Me and WB

F-84 Thunderstreak
captured by Z6 / Z24-70f2.8 9k kelvin

Back in the “good ol days,” like most photographers, I traveled with a huge collection of color correction gels. Nikon even made a special gel filter holder, AF-1 & AF-2 (which I still have). We did this because the white balance of our film (using current terms) was fixed at Daylight or 5500k. The most common filter I used was the 81a, what I combined with a polarizer to create the Moose Filter (the first warming polarizer). I have always taken getting the White Balance correct in the camera seriously, I still do to this day. It is true, you don’t have to this day an age, unless you’re like me and want to get it right, right in the camera. A whole bunch of people learned about this the fun way this past weekend.

F-84 Thunderstreak
captured by Z6 / Z24-70f2.8 4900k kelvin

We’re on the ramp at the Combat Air Museum with their very cool F-84 Thunderstreak. The sun has just started to light up the horizon. It’s real simple, our digital cameras max out at 8k kelvin and in AWB, rarely go about 5k kelvin when shooting a sunrise or sunset. But the actual light temperature is closer to 10k so I like to set the camera to 9k kelvin. Why? Not only is that what you’re supposed to do to get capture max quality, but I also want to “see” what I “experienced” when I look at my images from the get-go, not waiting until after they are processed. And a year from now when I look at my images, I don’t want to rely on my memory for that color, but the amazing tool, my camera to record it correctly. It’s simply the standard I have set for myself, that I push myself to and my clients have come to expect from my storytelling.

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