I’m relatively new to DSLR cameras and like the features I find in my D3400 which I know is entry level. I see all the excitement about the more advanced cameras especially the D850 and started looking at some reviews. I just watched a YouTube review by Maarten Heilbron who was as thorough as could be on this wonderful piece of technology. Half way through the video I decided I don’t need this camera mostly because of the learning curve.
I asked myself, who needs all that ‘stuff’?
I’m sure most of you are grinning at me now and that’s ok. I’m sure a majority of you can suck all that technology right in and and put it to use.
I’ll stop rambling now.
Link to review...

https://youtu.be/4E_jcfQiLWg

Just purchased a used Nikon D7100 from a relative. He charged me $200, and from reviews I read I feel that is a steal. The shutter count is at 25,270. I was honest with him and told him he should be asking a lot more than that but he insisted being family that was all he wanted. He justified it by saying he was getting nothing while it sat in his closet. The reviews on the camera were very good but I trust the opinion here so I was hoping to get some opinion from you fine folks. He also threw in Nikkor 50mm f/2.8 AF-S which I already have, and the camera has all the original packaging. This is a step up from my current D5100. Looking forward to getting out this week and taking it for a test run.

I'm definitely pleased with the improvements of the pictures I've recently taken. these improvements are all due to you're excellent advice.
But I'm noticing that some (not many have a blue tint to them, and I don't have any idea what's causing it.

I've also noticed that all of my pictures come out a little darker than I wanted but I can easily correct them by using an enhancement tool on my Canon photo tool. The last 2 photos are an example of the majority of my recent and improved shots. I know they can be better, but I'm working on it.

Please take a look and let me know what is causing this.

Oh BTW, I signed up for a 1 on 1 training class at my local camera shop!

Thanks,
Cookie

I use Lastolite EZ Balance targets... 18% neutral gray on one side, pure white on the other. Can be used both for exposure and for custom white balance.

Rather than rigid cardboard, they're a type of fabric on a springy metal frame, that allows them to quickly fold up to about 1/3 their size for easy storage. Available in a variety of sizes. https://www.bhphotovideo.com/c/search?sts=ma&ci=19421&cp=15293%2b19421&N=0&Ntt=lastolite+ezybalance

I also have a set of Warm Cards... those are smaller (about 5x7", if memory serves) and include one that's 18% gray on one side, pure white on the other.... but also have several lightly "tinted" cards to give images a slight warm or cool bias, when setting a custom white balance. https://www.vortexmediastore.com/pages/warmcards-white-balance-system

I agree with the above. Gray cards don't do anything useful in today's world. Assuming that you're camera has a decent histogram all you have to do to set exposure is open up until the highlights start blocking and back off a third or half stop. Color balance is very subjective. What lightroom considers a neutral color balance looks very blue to me and I never use it. I pay no attention to color balance when I'm shooting. It doesn't matter if I'm shooting under a cloudy sky with the camera set to tungsten.

40 years ago working at ProLab Seattle we would start the day by printing a Shirley on each enlarger. The color caller Dave who was also my supervisor would read the target patch on the Shirley tell us what to dial-in for our daily correction on each enlarger. Back in those days it made sense to have an accurate gray card when you were shooting. Back then expecting correct negatives from professional portrait photographers was wishful thinking. I think maybe 25% of the negatives we're correctly exposed. Some of our clients learned to shoot without light meters. I remember one studio who had total control over their lighting and every negative was perfectly exposed. I remember them because they were atypical of the general work that came in the door. On the other extreme was the studio which over exposed every negative a minimum of three stops. The other lab in the neighborhood Pacific Color would send suggestions back to the photographers about their exposure. Prolab did not do that. We printed what came in the door without comment. Pacific Color was the lab I used for my own work. The studio used half a dozen different labs. Maxed out credit at one lab and move to the next.