It's no different than it was with film. We had two types of film;
daylight and Type B for incandescent lighting. Beyond that you had to
carry a boat load of Kodak Wratten color correction filters if you
wanted to do what you can now do easily with white balance control. But
nobody used those thing except commercial photographers trying to get
the color of the soup correct on a magazine ad. If you shoot JPEG
you're probably better off with daylight color balance except that you
should probably mimic the Type B film by using incandescent (or its free
extension) fluorescent inside at night.
I says shoot raw and balance the color in post if you don't like what
comes straight out of the camera in a daylight preview.
Chuck Norcutt
On 5/5/2012 11:01 AM, Chris Barker wrote:
> Ever since Ken suggested it some years ago, I have set Sunny on my
> White Balance on each of my cameras.
>
> I like the colour casts from different times of day, but if it's off
> because of artificial lighting the Auto WB is unlikely to have done
> anything useful and I'd have had to adjust the WB anyway.
>
> Chris
>
> On 5 May 2012, at 12:56, Bob Whitmire wrote:
>
>> Sometimes it's better not to have a precise white balance as color
>> casts add to the photo. If it were mine, I'd make a copy and mess
>> around with it some just to see how it looks with different
>> adjustments. I think it's an excellent composition, perhaps worthy
>> of a nice print.
>
--
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