Better Available Light Digital Photography : How to Make the Most of Your Night and Low-light Shots

White balance techniques 97

see the results right away on the LCD preview screen, but use the

camera’s histogram function to check brightness too.

For most photographs, Joe uses the camera’s Daylight Color

Balance setting. It’s obviously the best choice for shooting out-

doors, but he also uses it when making window-light portraits

indoors. Under these kinds of lighting conditions, this setting

creates a warm, romantic effect that we think enhances the por-

trait even though it may not be “color correct.”

The camera’s Tungsten setting is amazing; it’s like loading a fi lm

camera with tungsten color slide fi lm or a forgiving color nega-

tive fi lm, such as Fuji 800. When shooting under typical living

room incandescent lamps, you may want to shoot a few test shots

to see if you have to increase exposure, but the Color Balance

should be right on. You can also use it outdoors with a fi ltered

fl ash to create a special effect.

The Cloudy Color Balance setting works great to warm up pho-

tographs made on cloudy or overcast days, but can also be used

during twilight or evening to keep your images from being too

cool or blue. Some cameras offer a Shade setting that’s similar

to Cloudy but may not be as intense. Joe has found that the

Fluorescent setting is a good place to start when an area is lit

with fl uorescent tubes; because it’s built into the camera rather

than an on-camera fi lter with a high fi lter factor, you can see

what you’re doing in the viewfi nder.

There is no correct Color Balance
for some shots such as this por-
trait of Leslie that was made on
the loft outside Joe’s offi ce. When
making window-light portraits
with the camera set in Daylight
mode, the warm light from late
in the day creates a romantic
effect that he likes. © 2002
Joe Farace.