Landscapes created at sunset or sunrise, snow and winter scenes, and those with night sky dominating lend themselves well to creative White Balance techniques. - and I need to set the white balance. Just know that the AWB setting does have some limitations. Making that change in the above photo (from Crater Lake National Park), you can see the Milky Way colors jump right out at you, and the green airglow becomes much more noticeable. Blog / Guest Bloggers / How to Get White Balance and Exposure When Photographing in the Snow. Choose A White Balance Preset To use this technique, you need a piece of card stock that’s either neutral gray or absolute white (not eggshell white, sand white, or any other close-but-not-perfect white). It is essential to understand white balance because shooting with the incorrect setting can ruin your photos. Take the picture with the metered values that didn’t include the background. Exposure. White Balance Fine-Tuning. If you are using an expodisc, you should recalibrate the camera’s white balance using the disc whenever your light source or direction of light has changed in order to maximize its effectiveness. The AWB balance setting for shade should help compensate for the camera seeing “blue”, but in this case, it’s not enough. Hold down your WB (white balance) button for a … Note: MAX, HERO6/7/8 Black has the following additional White Balance settings: Direct sunlight sets the colour temperature to 5000K, which is typical of midday sun, so this will work well on a mild, sunny winter's day. Below is an example of a series of shots in the snow to illustrate how effectively an expodisc can work. You can also follow a white balance chart (below) to achieve neutral gray. Or ‘this snow was much whiter’?. I’d say the results are “so-so”, and we can get more accurate color and balance with a little more work. One of the most important settings when shooting snowy landscapes is your white balance. Many cameras have fully customized white balance settings as well as particular settings for various light sources (bright sun, overcast, tungsten, etc). Snow and sand are also notorious for confusing auto white balance. Please check your entries and try again. I’ll have a list of my “must have’s” and some great tips and tricks as well! (9300K) When I used the White Balance Selector to choose a spot on the sunlit snow, on average the reading came out to 5200K. 2. This can be very frustrating for many people, especially if they don’t understand why they keep getting the same results (underexposed subject). The K setting in your white balance settings is arguably the most important white balance setting to understand, as you’ll have a hard time using Gels and correcting mixed lighting without understanding kelvins. If you are shooting in manual and using the custom white balance feature on your camera here are some of my MUST DO’s for great exposure and color in the snow: 1. The other thing that can be a bit tricky for our automatic cameras is getting the white balance right in the snow. This second part held a lot of good information and I loved the examples shown. • Check the results of your choices on the camera's LCD and adjust according to your preference. If your camera has a 'snow' setting, this can sort out the correct white balance for you. White Balance for Shooting in Snow. This is so much help. Colour temperatures vary from warm at the low values, to blue and cold at the high values, with white (neutral) in the middle. @Becki, you could do exactly as you describe. If you want your snow to be white you have to overexpose because your meter wants everything to be grey. Frame your shot so that most of the background is eliminated, and your subject fills most of the frame. Snow picks up great color. I have found that the expodisc by Expo Imaging is by far my favorite tool on the market for precise white balance. While the white snow isn’t exactly white, this image is in much better shape SOOC than the others. Click here to learn how to use an expodisc. Here, that white balance is the closest to color renditions in real … When you're happy with your choice, press OK to save the setting and go back to the shooting menu. The "Direct Sunlight" seems to produce a bluish cast with snow shots, and using "Auto -2" (my normal setting) seems to not quite capture the whiteness of the snow. This is because the snow is very reflective due to its white colour. In other words I don’t use White Balance to correct color casts, I use it to ADD color casts! More accurate exposure. When “correct” white balance is set, a naturally white surface or material will, in fact, appear to be white. I never leave home without mine. For the latest specials, free download alerts and great tips and tutorials for photographers, sign up for our weekly newsletter below. For instance, incandescent will create a blue cast, which can be very effective for early morning shots or photos in rain or snow – but do remember that everything in the scene will have a blue cast, including any people. 5. What do people use for their white-balance settings when taking shots of snow on nice sunny days. Shadows are blue and purple on sunny days. To further complicate matters, cameras often read snow as being slightly blue in tone, therefore the color tone of your images can also be off. While this is generally an effective way to go about things, there are some limitations to this approach, especially when you have the following situations present: Remember that an in-camera meter will assess the entire scene, and provide an exposure reading that includes the entire background that the camera “sees” in the frame. Re-evaluate your exposure as you move from place to place – even in the same location. Couldn’t you just custom WB using the snow? Or would that produce a different tint. Hi there! I can tweak the white in post if I want to, and I have better exposure and detail on my subject. If your camera has Live View, this will show the effect of your choice in real time, before you capture the image.• If you have the option, shoot in RAW (NEF) – this captures a much broader range of tones in the scene than you'd get with a JPEG, giving you far more scope for colour-correcting any white balance anomalies on the computer afterwards. Just know that the AWB setting does have some limitations. There are very few “needed” purchases in life,but there are many that provide a lot of value for the cost, and in my opinion, an expodisc is one of them! If you do not intend to do any processing in the computer but want to get everything right in the camera, I suggest that you set the white balance to the setting for 'flash' instead of the automatic setting. However, if you try to resolve all of the blue, your snow could suddenly have a yellow cast to it, which is obviously not ideal. The wrong white balance will make or break your image and can throw off the entire tone of your photograph. Here's how to deal with them by choosing the right white balance setting…. If you are using the auto settings for white balance and/or exposure, there’s not much to think about. So one can not use snow as a white card to get a true colors. Preset manual is also known as the 'white card' setting. First off, I am going to talk about some generalized approaches to exposure and white balance when shooting in any environment (but particularly snow) and I’ll offer some suggestions for more accurate results: Disclaimer: All of the images included in this post are unedited in order to illustrate my points. Secondly, a lens hood helps the lens fight against the cold. Select any of the white-balance options (apart from preset and colour temperature), then press  and use the multi-selector to fine-tune the white balance on the blue (B)-amber (A) axis and on the green (G)-magenta (M) axis. This shot was taken in the shade because otherwise the glare from the snow would had made it to difficult for the subject to look at the camera without squinting, but we still want the snow to be “white”. If you're shooting indoors in candle light, start with 2000K. Around 8000K is a good starting point for snow; if it's still too blue, go a bit higher, while if it's looking a touch pink, dial it down slightly. In the second image, I left the camera white balance setting on AWB and then overexposed the shot 2 stops. For overcast conditions, select around 6000-6500K, while shade is in the region of 7500K. White Balance Selector on the same snow spot in the shade, as before. MCP Actions™ helps professional and hobbyist photographers improve their photography. Recalibrate the camera’s white balance for different light sources in different scenes if you want it to truly be accurate. With snow photography, the chance for lens flares is higher. A sunset over snow can turn it rosy red. While I use both, I have a slight preference for the neutral disc. Household light-bulbs are around 3500K and fluorescent lighting 4000K. possibilities are endless. 3. In my third image, I again kept the camera on AWB and reduced my over exposure level to 1.5 stops. In my third and last post on photographing in the snow, I will walk you through some great tips and tricks for caring for and using your equipment outside during the winter weather. I also have both expo discs and LOVE them. Thank you! This comes out the same with an $5,000 camera or a camera phone. I personally use RAW and PP system. Thanks! Much quicker than getting out the gray card for changes in location! Incandescent and fluorescent neutralise the slightly yellow or green colour cast that you get from household bulbs, while flash brings a touch of reddish warmth to take the edge off the flash's bright light. When you take off your ski goggles after skiing, the snow will look bluish in color rather than pure white for a little bit, until your brain adjusts the colors back to normal again. It takes a while to get comfortable using it (and your camera MUST have a manual setting for white balance to be able to use it), but once you get the hang of it, it’s a great and simple tool. While we can all get excited about a fresh snow fall, most of us don’t get too excited about blue, underexposed images. It is intended to compensate for bluish flash lighting, and can warm up your snow-filled image. It uses a reading of the ambient (available) light for the scene, and calibrates the whites to white. Specializing in outdoor portraiture, Maris is known for her intimate style and timeless images. Is illuminated by multiple light sources with different color temperatures. @Alis, that is a great tip. any thoughts or suggestions are greatly appreciated. Hopefully you can really see the difference! Take an in-camera meter reading and either continue to hold the shutter button down half way to keep your camera set at those values or just remember what they are. Stay tuned for my last post, which again will cover caring for and using your camera equipment in the elements. No need to hassle with white balance every time light changes when going in slope, coming to hill, surrounding trees are green, trees without leaves, sun is low, sun is high (even with cloudy day) etc. Auto White Balance (right) produced a pleasing, balanced image, but the PRE (or white card) photo (left) is warmer, with whiter whites and an overall faithful rendition of the scene's colors. Many photographers believe that advanced photo editing software such as Adobe Photoshop and Adobe Lightroom can correct and/or enhance exposure and white balance in post-production, and it’s true – they can. A fine-tuned white balance will have an asterisk next to it in the control panel. Try using the cloudy white balance setting or manually set your white balance around 6,500 kelvin. Outdoors, the colour temperature will usually be anything from 5000K (normal daylight) to 9000K (dark shade). To encourage those delicate colors to emerge like a flower opening up, set your white balance to 3900 K (right, versus 3200 K on the left). Thanks. Let’s get started. You can visit her website and find her on Facebook. I can see the snow reflecting in his eyes, and his face is evenly light. More consistent white balance than AWB. You could also use a white piece of paper or a grey card. This will usually give a warmer result as it is designed to compensate for the slightly blue white color of flash lighting. In the first shot below, I used the in-camera auto white balance setting (AWB) and shot it at accurate exposure in manual mode. So if the camera senses cool light, it compensates by making the colors slightly warmer. You can buy reference cards made just for this purpose in many camera stores for less than $20.
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