Yep, me too, just make the appropriate correction when processing the raw
files. I always try to find something neutral grey or white to include in a
series of shots to use as a baseline for the correction. Auto white balance
just doesn't make sense.
...Wayne
>
> I have set all my digital cameras to Sunlight since Ken, some years ago,
> recommended this as a good way of working. I have not been disappointed
> with that way of operating, with either RAW or JPEG files.
>
> Chris
>
> On 20 Nov 13, at 16:03, Ken Norton <ken@xxxxxxxxxxx> wrote:
>
> > Chuck, you and I operate in a similar manner. I prefer to lock things
> > down to a known. Also, since I tend to shoot a bunch of film along
> > with digital (or instead of), I like having the film and the digital
> > camera matched. And all my films are daylight balanced.
> >
> > The problem with white balancing an image comes in with mixed
> > lighting. What if you have a scenic that is partically in the sun and
> > partially in the shade? What about post-sunset? Oh brother, do things
> > get nasty in a hurry.
> >
> > An aide, like a WhiBal or Expodisc are very handy in some artificial
> > lighting situations. Sports venues are a good example of this. The
> > lights may appear to be daylight balanced (or close), but they do so
> > through a low CI. What you think is white is a combination of several
> > narrow band colors that don't quite exactly match our RGB array.
>
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