Why do photos have orange tint? (Page 2): As the church photographer at my church, that happened to me only once. I always used bounce flash and got perfect photos indoors. The one...

Greer Loc: SOUTH GEORGIA

As the church photographer at my church, that happened to me only once. I always used bounce flash and got perfect photos indoors. The one time they all had a yellow/orange cast was when the flash was muted by placing it behind the flash Cauveryled. I was just starting out too.

Greer Loc: SOUTH GEORGIA

Should have read “the one time the tint was there was with the diffusion dome.

CHG_CANON Loc: the Windy City

Greer wrote:

Should have read “the one time the tint was there was with the diffusion dome.

Use the <edit> button to correct typos in your posts for up to 50 minutes.

Rongnongno Loc: FL

rmalarz wrote:

Something like this?
--Bob

Eeeeeeewwwwww.....

You can do better than that, Bob.

captivecookie Loc: Washington state

If you have a white balance dropper, put it on what you want to be true white and click the button. Adjust with sliders to taste.

David in Dallas Loc: Dallas, Texas, USA

DirtFarmer wrote:

IMHO, raw is the best solution. It allows complete freedom to change the white balance to anything possible in post. Lightroom has an automatic white correction in the develop module. You take the eyedropper and click it on something that should be white.

What it does is take the R, G, and B channels at that point and adjusts the temperature and tint to make them equal. That makes them a neutral color.

I often use that eyedropper tool to get the colors right. However, sometimes it looks to me as if it goes too "blue" and I usually back off the Tint slider a little if it does.

The human eye does its own white balance correction. I believe it looks for the brightest object and assumes it is white, then adjusts the colors accordingly.

Rongnongno Loc: FL

raw is a solution but this is going with the idea: I need raw to correct a mistake from the get go. If you use raw this way, sorry, that is not a solution but and admission you do not know what you are doing...

Just saying.

As a flash is used the camera defaults to daylight. It works quite well on the books and the woman's bow tie but nothing else. It would be better to select incandescent light WB.

Bouncing a light inside a church is a joke if only because of the height of the ceiling. Using a bouncing reflector would be better but this does not change the ambiant light, especially if the flash is weak - as seems to be the case -. Using a powerful flash would create its own issue so...

Learn by experience, you will quickly identify what works and what does not and not even think about it after a while, you just do what is needed.

rmalarz Loc: Tempe, Arizona

I only had 5 minutes to do both of those. I'm also at work at the moment. Both were one button push efforts.
--Bob

Rongnongno wrote:

Eeeeeeewwwwww.....

You can do better than that, Bob.

fetzler Loc: North West PA

rmalarz wrote:

Something like this?
--Bob

Your problem is mixed color temperature lighting. I was able to correct the color on the priest using a cooling filter. On your raw file you would adjust the color temperature using the slider.

A significant issue is your use of flash + ambient lighting which appears to be closer to 3000K. Using a CTO (Color Temperature Orange) filter over your flash will help. Select a CTO filter that will correct the flash to 2700 -3200 k. Gels are available from B&H and Adorama. If you have a flash filter set you may already have one that will suffice.

R.G. Loc: Scotland

The orange tint is a simple fact of the lighting and it seems to me that any attempts to tint-shift it out of existence are doomed to failure because the non-orange stuff will be affected too. My suggestion is to use WB to only partly shift the colour cast and then use the HSL tool to target the orange. If it is lightened, tint-shifted and desaturated, the orange colour cast is reduced to an acceptable level without the whole colour palette being affected.

There was some yellow on the robe and bible that I had to select in order to subdue it, but that's not surprising given the mixed nature of the lighting.
.

(Download)

rmalarz Loc: Tempe, Arizona

It's not my problem. I just threw those up there after a one button correction to produce each. It was just a start but I didn't have time to pursue the solution further.
--Bob

fetzler wrote:

Your problem is mixed color temperature lighting. ... (show quote)

CamB Loc: Juneau, Alaska

SoftLights wrote:

I recently shot some pictures in a church with white balance set at Auto, Normal. The pictures had a orange tint that didn't change even when switching to other WB settings. I have another project coming up in the same church and would like to eliminate the orange cast all together. Any help would be much appreciated.

You lit this with a flash. You will never get the right mix of foreground and background using a flash in this situation. Forget the flash. Use the appropriate ISO, F stop and shutter speed. They will look much more natural and you won't have light sources that just don't play well together.
...Cam

bleirer

I cut out a credit card sized grey card to keep in my wallet with my family photos. Shooting raw I'd take a pre shot of it and read it with the wb with the eyedropper tool in lightroom, copy that setting to the other shots and fine tune the slider if needed. Or a quick in camera custom white balance based on the card would work. It doesn't have to be any particular grey, white can be grey can't it? Anything with equal rgb numbers, just not too white to be specular or too black to be clipped.

Gene51 Loc: Yonkers, NY, now in LSD (LowerSlowerDelaware)

SoftLights wrote:

I recently shot some pictures in a church with white balance set at Auto, Normal. The pictures had a orange tint that didn't change even when switching to other WB settings. I have another project coming up in the same church and would like to eliminate the orange cast all together. Any help would be much appreciated.

Ambient tungsten light is very yellow/orange and outside the range of auto white balance. Shoot raw and avoid the entire white balance thing. If you include a neutral target in the shot, or do a test shot of a neutral target ahead of time, you can use that to set an accurate white balance later in post processing. Better yet, use an Xrite ColorChecker Passport which will resolve both lighting colors in this image using a dual illuminant color profile.

DirtFarmer Loc: Escaped from the NYC area, back to MA

Rongnongno wrote:

raw is a solution but this is going with the idea: I need raw to correct a mistake from the get go. If you use raw this way, sorry, that is not a solution but and admission you do not know what you are doing...

I don't view this as starting with a mistake. This is lighting I can't control nor can I measure it accurately to determine the color balance in real time. White balance corrections in raw do not generally affect the overall exposure so fixing white balance in post will not adversely affect the photo. And particularly where white balance is variable in a venue, I do not always have time to diddle with things to find out what white balance setting is best. That sort of operation is limited to setup shots, while I mostly do events that have their own pace. Raw is the best solution in my opinion.

As always, you are welcome to your opinion.