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Home >> Digital SLR Cameras >> E-3 >> White Balance Options with the Olympus E-3
Color temperature, color balance, and White
Balance are fundamental concepts that every
photographer must understand in order to
control the color of a photograph at the
control the color of a photograph at the
capture stage. People new to photography,
digital or traditional, often have a difficult
time visualizing what these terms refer to.
Even those who are familiar with these
terms may not have a clear understanding of
how they all work together.
In addition to understanding White Balance
as a basic photographic concept, it's
important to be familiar and comfortable
with the unique settings and controls of the
camera that you happen to be using.
This lesson takes a look at color temperature
and White Balance on a conceptual level
and then shows how to apply these concepts
using the Olympus E-3 digital SLR. This
camera offers a variety of advanced and
innovative White Balance settings, giving
you many options for working with color
temperature.
(Click on any image below for an
enlarged view.)
Topics Covered:
Color Temperature
Color Balance
White Balance
White Balance Presets
Custom White Balance (CWB)
Working in Mixed Lighting Conditions
The Live View Mode
One Touch White Balance
Equipment Used:
You can click on the blue links below for more info.
Camera/Media
Olympus 12-60mm f/2.8-4 Digital Zuiko zoom lens
Olympus E-3
Lighting Equipment
Photoflex Boom
Photoflex BoomStand
Photoflex ProDuty BackDrop Support Kit
Photoflex SilverDome nxt Medium 24x32x17
Photoflex Starlite QL
Color Temperature
Color temperature is a measurement of the relative color bias from any given light source. The nature of our own
visual experience, however, can make the idea of color temperature somewhat confusing.
This is because our eyes have the intrinsic ability to adjust to color shifts such that a white piece of paper will
appear white regardless of what type of light is being cast on it. However, color shifts can be much more apparent
in situations where there are two or more light sources of differing color temperatures, like the relatively yellow
in situations where there are two or more light sources of differing color temperatures, like the relatively yellow
light that emanates through the windows of a house contrasted against the blue light of dusk.
Color temperature is measured in degrees Kelvin. The
most important thing to remember about color
temperature is that the higher the Kelvin number, the
more blue the light source.
This chart shows several common light sources and
shows their place on an approximate color temperature
scale. [figure 1]
Figure 1
Color Balance
Color balance is achieved when a color-recording device (like a camera) captures an image close to how the
human eye perceives it. White Balance settings, film type, colored filters and gels, can all help to assist the device
in achieving "accurate" color. Alternately, you can also throw the color balance off to render a different mood or
effect to an image.
White Balance
If you shoot with a film camera and want to achieve color balance in a daylight setting, you would use daylightbalanced film to match the color temperature of daylight. If you shoot with a film camera indoors with
incandescent lighting, you would either choose Tungsten film or place a Tungsten filter over the lens to balance
the color temperature. If you are shooting digitally, however, achieving color balance in any lighting situation is
just a matter of setting the White Balance (WB) setting in the camera.
In the diagram below, you can see how different White Balance settings can affect the color balance of a shot.
Remember that if you can match the color temperature of your light source with the correct White Balance setting,
you will get color-balanced, or "neutral" results. [figure 2]
Figure 2
Don't worry if the concepts above still seem a little abstract. Further into this lesson, we'll explore these concepts
in greater detail using hands-on examples. For now, let's just summarize what we've covered so far.
Every light source has a color bias or temperature measured in degrees Kelvin. The human eye cannot always
discern the color temperature of the light source, but film and digital sensors are sensitive to differences in the
color of light and need to be guided in how to compensate for these differences.
The White Balance setting essentially informs the digital sensor in your camera what the color temperature of the
light source is. If the White Balance setting matches the actual color temperature of the light source, then the
image will have a neutral, or balanced, color rendering. If the White Balance does not match the light source, then
the image will have a color cast.
White Balance Presets
Now let's take a look at the various ways in which the Olympus E-3 allows you to adjust and control the White
Balance settings.
The default White Balance setting on the Olympus E-3 is the Auto WB setting. Because it's an automatic setting, it
doesn't help you to learn how to control White Balance in a more hands-on way. Throughout this lesson, we'll
demonstrate how the different manual White Balance settings compare to the results attained using the Auto WB
setting.
In addition to the Auto WB setting, the Olympus E-3 offers an array of White Balance presets, which correspond
to different kinds of lighting conditions. These include settings for Daylight, Tungsten, Shade, Overcast,
Fluorescent, and Flash. The following two images illustrate how to select the White Balance presets on the
Olympus E-3. [figures 3 & 4]
Figure 3
Figure 4
To show some of these White Balance presets in action, we decided to try them out in different lighting conditions
and compare the results. Our first example is a simple outdoor composition of a porcelain mask, lit solely by
midday sunlight.
We first set the White Balance setting to the Tungsten mode with the Light Bulb icon. [figure 5]
If you review the White Balance comparison chart in figure 2, it's easy to see why this result has a blue color cast
to it. [figure 6]
Figure 5
Figure 6
The reason our first try resulted in a blue color cast is because daylight has a much higher color temperature
(around 5500K) than Tungsten light (around 3200K). Higher color temperature means that the light source is
bluer. Lower color temperature means that the light source is more yellow.
When we set our camera to the Tungsten White Balance mode, we essentially let the camera know that the light
source had a low color temperature of around 3200K, or that the light was more yellow and that the camera should
compensate by adding blue. Since the light source was actually daylight, the result turned out much more blue than
it appeared in person.
Next, we decided to shoot the same image, but this time match the White Balance setting to the actual color
temperature conditions. We set the camera to Daylight White Balance (sun icon) and took another shot. [figures 7
& 8]
Figure 7
Figure 8
As you can see, the resulting image has neutral color balance. Below, you can see a comparison of these two
results, as well as the same subject photographed using the Auto WB setting. [figure 9]
Figure 9
As you can see, the Auto White Balance setting is able to approximate the white balance for daylight conditions.
However, it's not as accurate as the Daylight preset and can easily be fooled in certain situations, depending on the
colors of the subject matter.
Later in this lesson, we'll examine some of the more advanced White Balance methods, which are even more
accurate than the presets. But for now, it's important to understand that the White Balance presets, when used
correctly, will usually give you more reliable color balance than the Auto WB setting.
For our next example, we decided to photograph a
simple tabletop still life using a Tungsten light source.
For those of you interested in studio lighting, this set-up
is very basic and can be easily recreated in your own
living room. For this shot we used a Photoflex Starlite
QL as the Tungsten light source and a Photoflex
Medium SilverDome soft box to diffuse and soften the
light. The light was suspended from above using a
boom and the background was a roll of 4-foot gray
seamless background paper rolled out as a sweep onto a
table. [figure 10]
Figure 10
Just as we had done previously with the daylight subject, we decided to try using the incorrect White Balance
preset to see what the effects would be. Since our light source was a Tungsten lamp, we decided to set the camera
to the Daylight preset and took a shot. [figures 11 & 12]
Figure 11
Figure 12
Before we explain why the result has such yellow color cast, try to figure out the reason for yourself based on
what you have already learned.
Remember that the Tungsten light source has a lower color temperature than daylight, which means that it is more
yellow than daylight. When the White Balance is set to the Daylight, it is calibrated to capture a neutral image in
daylight conditions.
Therefore, when we use the Tungsten White Balance preset, we see the actual color of that light source relative to
daylight. In other words, Tungsten light will record as a yellow light source unless we guide the camera to
compensate for this yellow cast. In the next image, that is exactly what we did.
In order to capture a neutral image using the Tungsten lamp, we switched to the Tungsten White Balance setting.
[figures 13 & 14]
[figures 13 & 14]
Figure 13
Figure 14
The result shows a color-balanced result because the Tungsten White Balance preset is calibrated to a color
temperature of around 3200K. Therefore, the Tungsten preset will yield neutral results with any light source that is
close to this color temperature.
Note: Most common household lamps are made with a tungsten filament, which makes this White Balance preset
useful when photographing indoors without a flash.
Below, we see a side-by-side comparison of our still life shot using the Daylight preset, the Tungsten preset, and
the Auto White Balance preset. Notice how the Tungsten preset yielded the most neutral result of the three. The
Auto setting, while much closer to neutral that the Daylight setting, is still far from accurate in this case. [figure
15]
Figure 15
Next, let's look at two of the most misunderstood White Balance presets: Shade and Cloudy. Most photographers
perceive open shade and overcast lighting conditions as being the same color temperature as daylight, but in fact,
perceive open shade and overcast lighting conditions as being the same color temperature as daylight, but in fact,
this is usually not the case. In most outdoor situations, open shade and overcast light has a slightly higher color
temperature. This means that the light in these conditions is slightly bluer.
NOTE: Technically, the Cloudy preset is calibrated to about 6500K and the Shade preset is set to about 7500K.
In this example, we decided to shoot a portrait on a
bright sunny day in a large patch of open shade. As you
can see from this wide-angle view, our subject was
positioned in the shade, while the background was lit by
full sunlight. [figure 16]
Figure 16
First, we zoomed in a little tighter on the lens, set the White Balance to Daylight, and took a shot. [figure 17]
To the untrained eye, this image could pass as acceptable. This is perhaps why many photographers are not
entirely clear on the difference between the Daylight and the Shade settings. Nevertheless, if you pay close
attention to the color balance in this image, you'll notice a slight blue color shift, especially in the skin tones,
which is where color matters most in portraiture. [figure 18]
Figure 17
Figure 18
Next, we set the White Balance to Shade and took another shot. [figures 19 & 20]
Figure 19
Figure 20
In this result, we see improved color balance, as the skin tones are rendered more accurately. Notice how the blue
color cast that was present in the previous result is not apparent here.
Below, you can see a comparison of these two images, along with an Auto White Balance exposure. Here, the
difference between the Daylight setting and the Shade setting is fairly obvious. The Auto setting, by contrast, has
rendered an image with a slight magenta cast.
Figure 21
The Cloudy White Balance preset is very similar to the Shade preset. The color temperature of light projected
from an overcast day (6500K) is somewhat higher than that of midday sunlight (5500K), but not quite as high as
shade (7500K).
shade (7500K).
Here, we see the Cloudy White Balance preset selected
from the Olympus E-3 camera menu. [figure 22]
Figure 22
The image comparisons below show photographs taken in overcast lighting conditions using the Daylight, Cloudy,
and Auto White Balance settings. [figure 23]
Figure 23
As you can see, the Cloudy setting produced the most neutral result in these conditions. The Daylight setting
produced a slight blue color cast, while the Auto White Balance setting produced a slight magenta cast.
Other Presets
By now, you should have a pretty clear understanding of how the White Balance presets work on the Olympus E3. You may also notice that there are several other presets available on the E-3. There are 3 different presets for
fluorescent lighting, which are useful for different types of fluorescent lamps (warm, neutral, and cool). There is
fluorescent lighting, which are useful for different types of fluorescent lamps (warm, neutral, and cool). There is
also a setting for Flash, which is recommended when using the built-in flash, an accessory shoe mount flash, or
studio strobes.
Now, let's examine the more precise ways in which to control the White Balance setting on the E-3.
Custom White Balance (CWB)
The Olympus E-3's Custom White Balance mode is a favorite among many professional photographers because it
allows them to dial in the actual color temperature of the light source, which they can measure using handheld
color meters.
Below, you can see how to change the Custom White Balance settings on the Olympus E-3. [figures 24 & 25]
Figure 24
Figure 25
When film was the only capture medium available, the task of achieving color balance was much more complex
and required one to know the color temperature of the light source prior to shooting. The photographer could then
choose the appropriate type of film (daylight- or Tungsten-balanced) and compensate for any minor differences
using colored gels on the lights or filters over the lens.
In the digital format, we no longer have to take such measures to achieve color balance. However, the E-3 does
allow you to control the White Balance with great precision, especially when you already have a sense of the color
temperature that you are working in. The Custom White Balance mode allows you to select a specific color
temperature in increments of 100K.
For example, if you know that your light source is exactly 3200K, then you could simply dial in 3200K within the
Custom White Balance (CWB) mode.
Another way to use the CWB mode is for creative color effects. Let's explore this method first before getting into
the more traditional method of using CWB.
The image shown here is the same one used in our
previous discussion about the Cloudy White Balance
preset. This image was shot using the Cloudy preset as
the White Balance setting and the color balance appears
to be pretty neutral in this case. [figure 26]
Because this image is relatively monochromatic,
however, it lends itself nicely to different interpretations
using extreme color cast effects.
Figure 26
In the following examples, you can see how the same image can take on a dramatically different feel, depending on
what color shift we choose to apply. [figures 27 & 28]
Figure 27
Figure 28
The image on the left was given a dramatic blue color cast by using a Custom White Balance setting of 2800K.
This image has a very cold, almost wintery feeling. The image on the right was taken with a Custom White
Balance setting of 10,000K, which produced a very dramatic yellow/orange color cast. This version has a very
warm, inviting feeling and is kind of reminiscent of sunset light.
Keep in mind that these two examples are exaggerated with respect to color in order to demonstrate the effects you
can achieve. We recommend experimenting for yourself to see how far you want to go with your own images
using either subtler or more dramatic shifts in color balance. If nothing else, it will at least help you better
understand the concept of color temperature and White Balance.
Working in Mixed Lighting Conditions
The following set of examples demonstrate how the Custom White Balance setting can be used in a mixed lighting
The following set of examples demonstrate how the Custom White Balance setting can be used in a mixed lighting
situation when the actual color temperature of the lighting is not entirely clear. For this next shot, we decided to
photograph the interior of an old office building. This interior had several light sources at play, all of which had
different color temperatures.
The images below depict the overall scene and show these different light sources. Most of the hallway was lit with
a series of overhead lanterns. While it was safe to assume that the lamps in these lanterns were most likely
Tungsten, the lamp shades were somewhat beige, which we figured would lower the color temperature of the
lamps. [figures 29 & 30]
Figure 29
Figure 30
Additionally, we had to factor in two different skylights located inside the hallway, as well as the giant window
located directly behind the camera. All of these light sources were daylight-balanced, but were most likely
inconsistent in terms of their color temperatures.
Our first instinct was to let the camera figure it all out
for us. So to start, we set the White Balance to the Auto
Preset, composed the shot, figured out the correct
exposure, and fired away. [figure 31]
Figure 31
While this result isn't bad, the color balance is not exactly neutral. Keep in mind that with a mixed lighting
situation such as this, the so-called "accurate color balance" can be quiet subjective. However, there are a few
details that we can pay close attention to when capturing the image to help us decide how to properly select the
White Balance setting.
The Live View Mode
In this situation, we decided to employ another handy feature on the Olympus E-3 called the Live View Mode. The
E-3 is one of the few professional SLRs that has such a feature. The Live View Mode allows the user to view the
image in real time on the LCD and see the effect of any changes such as exposure and White Balance before
pressing the shutter to capture the image. This feature is extremely useful in difficult lighting situations.
The diagrams below illustrate how to activate and use the Live View Mode to change and preview your Custom
White Balance settings. [figures 32 & 33]
Figure 32
Figure 33
We experimented with several color temperature settings using the Live View Mode to preview the result on
screen in real time.
Based on what we saw in the Live View Mode, we
settled on the ideal Custom White Balance setting of
2800K. As compared to the previous result using the
Auto WB setting, this result is much more accurate in
terms of color balance. [figure 34]
Figure 34
To gauge the appropriate color balance for this particular image, we paid close attention to the floor in the shot.
Unlike everything else in the photograph, the carpet was a neutral gray color. This meant that if we could
reproduce the carpet as a neutral gray, then the rest of the colors would fall in line.
Shown below is a side-by-side comparison of three different results. First we used the Auto WB setting, which
produced a red color bias. Then, we dialed in a Custom White Balance setting of 3200K thinking that the majority
of the lighting in the hallway was probably Tungsten lighting and that 3200K would bring us closer to a neutral
color balance in the image. [figure 35]
Figure 35
3200K was close, but not close enough for perfect color balance. As you can see, the 3200K result still shows a
yellow color bias. This meant that the actual color temperature of the lighting was significantly lower than the
average Tungsten color temperature that we had predicted.
The final neutral, color-balanced result required a CWB setting of 2800K. Notice that the small patches of daylight
coming in through various parts of the image appear blue. For us this was okay, so long as the majority of the
colors in the shot appeared natural and that the carpet, our point of reference, was rendered neutral.
Now that we've covered several methods for adjusting the White Balance and using White Balance creatively, let's
examine another method you can use with the Olympus E-3. The One Touch White Balance feature on the E-3 is
usually the most accurate method of attaining optimal, color-balanced results under most lighting conditions. When
used properly, this method will compensate for even the tiniest variations or fluctuations in color temperature and
yield perfectly neutral results. Best of all, it is very easy and fun to use!
One Touch White Balance
The One Touch White Balance feature is a simple concept. Instead of having to figure out what you think the
White Balance should be for a given situation, you can simply point the camera at a blank sheet of neutral white
paper (or photographic gray card) that is lit by the same light source as your subject and the camera will calculate
paper (or photographic gray card) that is lit by the same light source as your subject and the camera will calculate
the exact White Balance setting required to achieve color balance.
Here's how it works in practice. Get a sheet of neutral white paper (a clean sheet of inkjet paper usually works
well) or gray card (available at photo supply stores) and hold it in front of the lens, making sure that the lighting
on the paper is exactly the same as the lighting on the subject. [figure 36]
Make sure that the paper fills up the entire frame inside the viewfinder. In this case, we'll demonstrate this
technique using the same tabletop still life set-up that we showed earlier in the lesson.
With the white paper positioned carefully in front of the lens, hold down the Fn Button and then press the shutter
release. [figure 37]
Figure 36
Figure 37
The camera will then prompt you to save your One Touch White Balance setting as one of four possible One
Touch presets, which you can select again at any time. [figures 38 & 39]
This is a very useful feature because it allows you to program up to four different One Touch WB settings and the
camera will remember each, even after it's been turned off. This way, if you find yourself moving repeatedly from
one type of lighting scenario to another, you can store a One Touch WB setting for each one.
Figure 38
Figure 39
Once we had our One Touch WB setting saved as a
preset, we selected it and photographed the still life
again so that we could compare the result with our
previous result using the Tungsten preset. The One
Touch WB result is shown here. [figure 40]
Figure 40
Here's the side-by-side comparison that shows the original result using the Auto WB setting, the result using the
Tungsten setting, and the final result using the One Touch WB setting. [figure 41]
Figure 41
As you can see, the One Touch WB setting produced a more neutral result compared to the Tungsten preset. This
is further confirmed with the RGB values taken from the neutral gray area in the background using the info palette
in Adobe Photoshop. When the RGB values are the same (or close to it) then we know that the value is neutral or
in Adobe Photoshop. When the RGB values are the same (or close to it) then we know that the value is neutral or
has the same amount of Red, Green, and Blue. When the numbers are different, then we can see that there is a
color bias or that the value is not neutral. Of course, this only works if you have a perfectly neutral area in the
image, such as the neutral gray background that we used for this still life.
Here is a closer look at the subtle, yet significant difference in accuracy between the standard Tungsten preset and
the One Touch WB result. [figure 42]
Figure 42
In summary, the Olympus E-3 offers numerous features and methods for controlling White Balance. Once you
have built up enough confidence to move beyond the Auto mode, you'll find that the E-3 can give you all of the
control you'll ever need to achieve accurate color balance.
Remember that there is no "right" way to color balance an image. Every situation is different, as is every
photographer. Take time to experiment with all of these White Balance features and see how you can best utilize
the many options available to you with the Olympus E-3.
Above all, remember to have fun!
Equipment Used:
You can click on the blue links below for more info.
Camera/Media
Olympus 12-60mm f/2.8-4 Digital Zuiko zoom lens
Olympus E-3
Lighting Equipment
Photoflex Boom
Photoflex BoomStand
Photoflex ProDuty BackDrop Support Kit
Photoflex SilverDome nxt Medium 24x32x17
Photoflex Starlite QL
Recommended Links
To learn more about Photoflex equipment, go to www.photoflex.com
For more detailed digital photography lessons, visit www.webphotoschool.com
© Copyright 2008 Olympus Digital School
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