OFF-WHITES AND NEAR COLORS
By MICHAEL PERKINS
ONE OF THE MOST GRAPHIC DEMONSTRATIONS OF THE DIFFERENCE BETWEEN YOUR EYE AND A CAMERA’S occurs by accident for most photographers, with variations in the reading of white balance that make the colors in an image look “wrong”. While our own vision looks at everything in the world from light blues to medium greys and instantly converts them all to “white”, the camera makes looks at all those variants and makes what can be called its best guess.
All light has a temperature, not a measure of heat but an index of which colors combine to deliver hues of a certain intensity and range, and white balance helps photographers manage color more effectively. Film shooters, especially those using sophisticated flash technology, eventually develop an instinct as to which kind of light will deliver the hues they seek, but, as the digital era tracks onward, many more of us simply rely on our camera’s auto settings to deliver a white that strikes us as “correct”. And when auto white balance fails to deliver the goods, we can override it and select other settings that compensate for incandescent light, shade, cloudy skies, and so forth. We can also create a completely custom white balance with little fuss. Think Dad looks better with a green face, like the true extra-terrestrial that he is? It’s at your fingertips.
The fun starts when you use white balance to depart from what is “real” in the name of interpretation. WB settings are a fast and easy way to create dramatic or surreal effects, and, when you have enough time in a shoot to experiment, you may find that reality can be improved upon, depending on what look you want. In the top image, taken during a long, lingering sunset at sea, I had plenty of time to see what my camera’s custom WB settings might create, so I bypassed standard auto WB, then amped up the reds in the sky by clicking over to a shade setting, resulting in a deep and warm look.
For the second shot of the same scene, I wanted to simulate the look of a sky just after sunset, when the blues of early evening might take over for the vanished sunlight, even providing a little radiance from a pale moon. One click to the setting and you see the result. Now, of course, I’ve just switched from one simulation of reality to another, but playing with WB in a variety of lighting situations can help you tweak your way to fantasy land with no muss or fuss.
Tweaking white balance is basically lying to your camera, telling it that it is not seeing what it think’s it’s seeing but what you want it to think it sees. You’re the grown-up, you’re in charge. “White” is what you say it is. Or isn’t.
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