[Photography] 12 Must-Know Camera Settings for Concert Photography

The post 12 Must-Know Camera Settings for Concert Photography appeared first on Digital Photography School. It was authored by Matthias Hombauer.

Struggling to determine the right concert photography settings for beautiful images of musicians, bands, and even symphonies? You’ve come to the right place.

Selecting the perfect camera settings is a key part of capturing awesome concert photos, especially in low-light situations. If you get your settings right, the results will be spectacular: crisp, clear, and full of detail. But if you get them wrong? Your images will look blurry, unpleasant, and just all-around bad.

That’s why, in this article, I’m going to share 12 settings for concert photography. These are the exact camera settings I use in my own concert shooting, so you know they work. (And I promise: They’ll help you boost your images and your career!)

Let’s dive right in.

The best concert photography settings, in brief

Before we dive into the nitty-gritty, let’s take a moment to review my go-to settings for concert photography. If you’re eager to grab your camera and head to a gig tonight, these settings will net you solid results:

• RAW format
• Manual mode
• A wide aperture
• A reasonably fast shutter speed
• A high ISO
• Image stabilization
• Auto White Balance
• Spot metering
• Back-button AF
• Burst mode

Think of this list as your concert photography cheat sheet. It’ll get you about 80% of the way – but to truly shine in this challenging field, you need to understand when to fine-tune your settings, you’ll need to understand why these settings are so crucial and what they actually do, and you’ll also need to learn a few additional camera settings to consider.

Also, always remember that every concert is unique. Lighting conditions can change from one moment to the next, and what works for a high-energy rock concert may not be ideal for a subdued jazz performance. Still, by dialing in these key settings, you’ll be well on your way to capturing stellar images that bring the stage to life.

The 12 concert photography settings everyone should know

Looking to level up your photos of rock concerts, symphonies, and everything in between? Here are the settings that I recommend you keep in mind while photographing:

1. Shoot in RAW format

Here’s your first concert photography setting, and it’s a big one:

Always, always, always shoot in RAW.

If you shoot in JPEG, your camera will automatically add processing, such as contrast, saturation, and sharpness. And while it might look nice, it’ll limit your post-production freedom, so you won’t be able to further enhance your concert photos.

On the other hand, if you shoot in RAW, the camera won’t process your photo at all. That way, you can change parameters such as exposure, white balance, saturation, contrast, and clarity long after you hit the shutter button.

(In other words: If you’re careful and deliberate with your editing, you can make your photos look a lot better!)

2. Use Manual or Aperture Priority mode

The Rolling Stones
Nikon D800 | 185mm | f/4 | 1/320s | ISO 1600

When I started off doing concert photography, I used Aperture Priority mode. I would dial in the aperture, my camera would set the shutter speed accordingly, and I’d hit the shutter button.

And in general, Aperture Priority works well. It’s great for beginners because it partially automates the exposure process, giving you one less thing to worry about.

But after shooting for a while, I recognized that only Manual mode would give me the flexibility I was after. I wanted to set the aperture, shutter speed, and ISO – and then change each setting on the fly based on my requirements.

Fink
Nikon D700 | 14mm | f/2.8 | 1/200s | ISO 3200

So depending on your level of experience and comfort, pick one of these two options. Starting with Aperture Priority and working up to Manual can make sense, though if you’re already familiar with Manual mode, you might test it out and see if you can use it effectively right away.

Pro tip: If you do choose Manual mode, make sure to frequently check your histogram to ensure your exposure is correct!

3. Use your lens’s widest aperture setting

Struggling to decide which lens to use for concert photography? I always give the same advice: Use fast lenses and shoot them wide open.

Set your aperture to the smallest f-number your lens allows, which will give you the biggest aperture opening. That way, the most possible light hits your sensor.

A wide aperture is especially important in low-light concert photography. If possible, shoot with an f/2.8, f/1.8, f/1.4, or f/1.2 lens.

If you’re a beginner on a budget, I’d recommend grabbing a 50mm f/1.8 lens, which is cheap, features a wide maximum aperture, and offers surprisingly nice image quality.

4. Use a fast shutter speed

Miley Cyrus
Nikon D800 | 340mm | f/4.8 | 1/320s | ISO 1600

Have you ever been to a concert where the artist was running and jumping from one side of the stage to the other?

This type of action makes for some great photography – but to freeze such movement, you must use a fast shutter speed.

In general, I set my shutter speed to 1/200s or faster (and depending on the level of action, you may want to push this even higher.) Certain concerts will allow you to get away with a slower speed, such as 1/160s, but it’s often better to err on the side of caution and go higher rather than lower, even if you’re forced to increase your ISO as a result. Speaking of which:

5. Boost your ISO

The higher your ISO, the less light you need for a proper exposure – and in concert photography, where light is generally limited, this is a key setting to get right.

Your camera’s ISO range likely starts at 100. But if you’re shooting a low-light concert, I’d recommend kicking this up to 1600, 3200, or even 6400. Otherwise, your shots will end up far too dark (or you’ll be forced to drop your shutter speed, which will introduce blur).

Unfortunately, a high ISO does come with a significant tradeoff: image noise.

In other words, as you push your ISO from 400 to 800 to 1600, you start to get little flecks of color and light that look pretty bad. The specifics will depend on your camera (modern sensors do a very good job of minimizing high-ISO noise!), but you should always be cautious when boosting the ISO. Only raise it when absolutely necessary, and be mindful of your particular camera’s high-ISO capabilities.

It can help to spend some time capturing test shots at various ISOs, then magnifying the images on your computer and evaluating the noise levels in your images. Also note that you can sometimes salvage noise-heavy images with noise reduction during post-processing, or you can convert your files to black and white for a grittier, noir-type look.

6. Turn on image stabilization

Modern camera gear offers a lot of tech to make our lives easier, and image stabilization is one of those wonderful advancements. Available in many of today’s lenses and some (mostly high-end) mirrorless cameras, image stabilization helps to counteract the effects of camera shake so you can keep your files looking tack-sharp.

Imagine you’re at a concert and trying to shoot in low-light conditions. If your hands shake, you shoot while panning, or you get bumped by an audience member or another photographer, you risk introducing blur into your images, even if you’re working at a reasonably fast shutter speed.

Turn on your camera or lens’s image stabilization, however, and it’ll compensate for minor camera movements. In fact, it can make a noticeable difference in the sharpness of your photos, and it’ll certainly improve your consistency.

Not sure whether your camera or lens offers image stabilization? This feature can be labeled differently depending on your gear. For instance, camera-based image stabilization is often referred to as IBIS (in-body image stabilization), while lens-based image stabilization goes by a host of acronyms like IS, VR, OS, OSS, or VC. When in doubt, do a bit of Googling!

Pro tip: It’s important to remember that while image stabilization can help with camera shake, it won’t freeze the motion of a performer jumping around the stage. For that, you’ll still need a fast shutter speed!

7. Use spot metering

Atari Teenage Riot
Nikon D700 | 50mm | f/1.8 | 1/2500s | ISO 1600

Spot metering limits your camera’s exposure readings to the center of the scene – which allows you to determine the exposure based on a small subject (e.g., a face). It works especially well when your subject and background are differently lit.

When shooting concerts, the artist will often be lit by a spotlight while the rest of the stage remains dark. So here’s what you do:

First, switch your camera to spot metering mode.

Then place the artist’s face in the middle of your viewfinder and memorize the recommended exposure settings.

If you’re using Manual mode, you can dial in the settings, then compose without worrying about fluctuating meter readings. If you’re using Aperture Priority, you’ll need to lock the exposure; that way, you don’t end up with varied exposures as the performers jump around the frame.

If you don’t like spot metering and it’s giving you bad results, you can try your camera’s matrix/evaluative metering mode. The camera will take a light reading at several points in the scene, and this can work – but you’ll want to be on the lookout for overexposed faces, especially when the background is dark.

8. Use the middle autofocus point

Zola Jesus
Nikon D700 | 50mm | f/1.8 | 1/200s | ISO 1600

Did you know that different autofocus points feature different levels of accuracy?

It’s true. Peripheral autofocus points tend to work fine in good light, but the performance weakens as the light drops. Whereas the center autofocus point remains effective in both good light and bad.

That’s why I recommend you use the central focus point in low-light situations. It’ll be the most accurate, and it’ll ensure you get the sharpest results, no matter what the artist is doing on stage.

If you don’t want the artist to sit smack-dab in the center of the frame, you’ll need to use a focus-and-recompose technique; simply push your shutter button halfway down to focus on the artist’s face – this will lock focus – then adjust your composition until you get the desired framing. Once you’ve nailed both focus and composition, press the shutter button the rest of the way.

Note: To use this focus-and-recompose technique, you’ll need to set your camera to One-Shot AF, also known as AF-S. Otherwise, the camera will focus continuously while you reframe your picture.

(You can also set up back-button focus, which many shooters – myself included! – love. With back-button AF, you use a button on the rear of your camera to lock focus, then use the shutter button to take the shot.)

9. Use Auto White Balance

Skunk Anansie
Nikon D700 | 85mm | f/3.5 | 1/500s | ISO 1600

White balance combats unwanted color casts in your scene, and it’s important to use if you want good-looking photos.

However, I highly recommend you deal with white balance after taking your photos, during post-processing. So set your camera to Auto White Balance, then ignore the WB setting until you’re back at home.

You see, if you shoot in RAW, the white balance is completely flexible. Whether you determine the white balance setting at the time of capture or whether you wait until you’ve opened up Lightroom days later makes zero difference.

Plus, setting the white balance during a concert is difficult to do, especially when you have different lights flashing all around the stage. So do yourself a favor and leave the white balance setting for another time!

10. Use burst mode

The Prodigy
Nikon D800 | 85mm | f/1.8 | 1/320s | ISO 1600

Your camera’s burst mode setting, also referred to as continuous shooting, lets you do rapid-fire photography. With burst mode activated, you can shoot five, ten, or even sixty frames per second, depending on your camera.

And this is hugely helpful in concert photography for two reasons:

1. If you take several shots in a row, at least one of them will probably turn out sharp even if the others aren’t in focus.
2. Multiple photos increase your chances of nailing the perfect frame.

Now, I don’t recommend you set your camera to its high-speed continuous shooting mode and use it nonstop. You’ll run out of storage space pretty quickly, plus you’ll just end up with thousands of unnecessary photos.

Korn
Nikon D700 | 130mm | f/2.8 | 1/250s | ISO 3200

But I do recommend analyzing the situation, then – when you’re ready to capture split-second action shots – turn on burst mode and use it judiciously. Of course, be sure to stock up on memory cards, and be prepared to spend some extra time going through your files when you get home. Even a careful burst-mode shooter will end up with a lot of files at the end of a night, and while you’ll likely end up with some absolute gems, storing and finding them can require real effort.

11. Never use flash

This is a quick tip but an important one: Don’t use flash at a concert.

First, you’re not allowed; imagine ten photographers bursting their flashes all at the same time – it’d distract the audience and the musicians.

And straight-flash pictures don’t look great. For good flash photography, you’ll generally need to position your flash off to the side of the artist (i.e., you’ll need an off-camera flash), which isn’t really feasible in a concert setting.

So turn off that flash and rely on careful concert photography settings, such as a high ISO and a wide aperture, for well-exposed files.

12. Consider using a silent shooting mode

Concert photography can be enthralling. But while you’re absorbed in capturing the event, the noise of your camera’s shutter can be a distraction for those around you – and you might not even realize it!

This is where your camera’s silent mode can come in handy. You see, many mirrorless cameras, and even some DSLRs, offer silent-shooting options; these are designed for quieter events like weddings and award ceremonies, where it’s essential that the photographer remains as inconspicuous as possible. Turn on silent shooting, and the chatter of your camera will instantly disappear.

Not all concerts require a quiet camera, of course. A heavy-metal band, for instance, will drown out the sound of your camera shutter – but in settings like low-key acoustic concerts or classical performances, the quiet or silent mode can make a huge difference. That way, you can click away without drawing attention, and both the audience and the performers will thank you.

Plus, some cameras offer increased continuous shooting speeds when set to their silent-shooting mode, which allows you to capture more frames in quick succession!

Must-know concert photography settings: final words

Now that you’ve finished this article, you’re well-equipped to capture some stunning concert photos! Whether you’re a beginner or have been shooting concerts for a while, I hope you found these concert settings tips to be both practical and easy to apply.

So the next time you’re out shooting a concert, make sure to dial in the settings I shared. Your photos will instantly improve!

Now over to you:

Which of my recommended settings do you use for concert photography? Do you have any additional settings you love to use for concerts? Share your thoughts in the comments below!

The post 12 Must-Know Camera Settings for Concert Photography appeared first on Digital Photography School. It was authored by Matthias Hombauer.

it's from Digital Photography School https://ift.tt/E48GvhX
via Matthias Hombauer

[Photography] 3 Legged Thing Unveils Axis Strap System on Kickstarter

The post 3 Legged Thing Unveils Axis Strap System on Kickstarter appeared first on Digital Photography School. It was authored by Sime.

Camera Straps Just Grew Up (Again!)

If you’ve ever wrestled with a camera strap that digs into your shoulder, twists at the worst moment, or just feels like it was designed for someone else’s body, 3 Legged Thing’s new Axis Strap System promises a rethink.

It’s a home-grown British solution built for real photographers, available now on Kickstarter! Take a look at the Kickstarter Here

We’ve had the Axis Sling and the Axis 34 for a little over a week now, and they’ve already been put through their paces. I shot two halves of a soccer match and then wrangled a team portrait for 32 people (an annual tradition that’s always a lot of fun!).

During the game, I ran the Axis Sling with my Sony a7Rmk3 and Tamron 150-500mm, The sling’s QD attached to a QD plate on my lens’ foot. When it came time to line everyone up for the big team photo, I switched out to the Axis 34. Worn cross-body with the camera off to one side, Easily adjusting the strap up tighter to my body with the handy ‘easy-pull lever’ made moving around much easier. The QD buckle attachment feels so solid, I was confident it wasn’t going anywhere from that first click. Kicking goals!

Check out the Kickstarter for 3LeggedThing’s New Axis Strap Series Here

What really stands out for me is being able to swap where the strap connects. With the rock-solid QD buckle, I can clip straight into my L-bracket or a QD Arca Swiss compatible quick release plate — a true gamechanger. It’s a word that gets thrown around a lot, but this time I feel like it genuinely applies.

Using the Arnie dedicated QD L-bracket on my camera and a QD arca swiss plate on the foot of my lens, I could use either connection points and have my camera hang at my side pretty much however I wanted, making it very easy to grab my camera and bring it up for a photo.

The Axis 34 has gained a regular slot in my camera bag – as someone who has used pretty much every style of camera strap available, I think the new Axis range from 3 Legged Thing is about as close to perfect, for me, as it gets.

Ain’t no model!?

Here’s what they say

British camera-support manufacturer 3 Legged Thing is bringing its trademark innovation and engineering expertise to the world of carry solutions with the launch of the Axis Strap System, debuting today on Kickstarter.

At the heart of Axis are two game-changing components: the beautifully unique 4-Axis QD Buckle and 3LT’s own take on an essential piece of hardware — the QD Swivel. Originally developed for astronautics, military and law-enforcement gear — even trusted by NASA for tethering cargo — this ultra-secure quick-detach system has been re-engineered by 3 Legged Thing to keep cameras safe, accessible and ready for action.

We designed the world’s first four-axis QD buckle — which means you can actually adjust how your strap fits and moves. All body shapes are different, so why should photographers settle for anything less than a tailored fit? Switch which socket you plug into to seamlessly contour the strap around your natural curves. Got a six-pack? Good for you. Working on a keg? Time to celebrate. Muffin top? We’ll make it fit. Moobs? Now you can style it out. ?

---

Made in Great Britain – Creating Local Jobs

Axis straps are proudly designed, engineered and manufactured in Great Britain, meeting one of the world’s most respected engineering standards. To support this launch, 3 Legged Thing has invested in a new UK-based sewing facility, creating local jobs and ensuring the entire range is built to the highest standards of craftsmanship. For photographers, that means world-class design, built in the shires of middle England, with a distinctly British stamp of quality.

---

A Strap System Like No Other

The Axis range covers every style of carry:

• Axis Pulse – a compact, rock-solid wrist strap
• Axis 24 / 34 / 44 – sleek, supportive straps in three widths to match any camera, from small mirrorless to heavy pro rigs
• Axis Sling & Twin Sling – breathable cross-body comfort, with a dual-camera option that converts back to a single in seconds
• Axis Anywhere & Gatekeeper – clever bag-mounting solutions that take the weight off your neck and shoulders
• QD4 & QD7 Plates – Arca-Swiss compatible quick-release plates with integrated QD sockets, built for seamless connection

---

Engineering Meets Comfort

Axis isn’t just about the connection. Every strap has been designed from the ground up, incorporating features for your comfort:

• Cam Lever Lock adjusters that actually stay locked
• Neck and shoulder padding that eases irritation and increases airflow
• Hypalon-reinforced stitching for durability
• Optional padded linings for those long days of shooting

---

Founder’s Quote

“This project has been eight years in the making, though massively interrupted by the pandemic, so we’re incredibly excited to bring the Axis Strap System to market. I genuinely believe that QD is the future of camera-carrying solutions, and we will be bringing this technology to many more products in the future.
We’re also delighted that we’re creating a production facility in the UK for these straps, so they can proudly carry the ‘Made in Great Britain’ mark.”
— Danny Lenihan, Founder & CEO, 3 Legged Thing

---

Kickstarter Launch

The Axis Kickstarter campaign runs for 31 days from 9 September 2025. Backers can expect substantial discounts across the range, with the biggest savings reserved for early adopters.

Final thoughts from us after a week of use – I put the Axis straps through a soccer match and a 32-person team photo, and the QD buckle system stood out straight away — solid, versatile, and a real gamechanger! A pleasure to use.

We wish them the best of luck on a great product!

The post 3 Legged Thing Unveils Axis Strap System on Kickstarter appeared first on Digital Photography School. It was authored by Sime.

it's from Digital Photography School https://ift.tt/cHfgIYR
via Sime

[Photography] 7 Fascinating Photography Facts You Probably Didn’t Know

The post 7 Fascinating Photography Facts You Probably Didn’t Know appeared first on Digital Photography School. It was authored by Megan Kennedy.

Looking for fun, compelling, or even weird photography facts? You’ve come to the right place.

Photography has a long and fascinating history full of interesting events, items, and people. In this article, we share seven photo-related facts that are guaranteed to impress, including tidbits on cameras, photographic words, the most-viewed image ever created, and more.

Let’s dive right in!

1. It’s all in the name

We use terms like “photography” and “camera” all the time, but where do these words actually come from? And when were they created? Our first photography fact hearkens back to the origins of many of the words we photographers use today.

The term “photography” actually originates from the Greek words “photos” and “graphé.” “Photos” translates as “light,” while “graphé” means “drawing” (or, more literally, “a representation by means of lines”). When used in conjunction, the two words mean “drawing with light.” The original coining of the word “photography” is generally attributed to Sir John Herschel in 1839.

And the word “camera”? It comes from the Latin term “camera obscura,” which means “dark chamber.” The term originally described a means of projecting an external scene onto a flat surface in a dark room or box, which was then used to aid painters with perspective and scale.

In fact, the camera as we know it today actually evolved from the camera obscura configuration. Early photographers simply placed light-sensitive materials at the back of a camera obscura, then waited as an image was produced. Over time, cameras became more sophisticated and portable, but elements of the original camera obscura still remain!

2. “Kodak” is a nonsense word

Speaking of words, did you know the term “Kodak” is simply made up? The company founder, George Eastman, favored the letter “K” because he believed it was a “strong, incisive sort of letter.”

Then, using an anagram set, Eastman and his mother came up with the name “Kodak.” When devising the phrase, they used three principles:

1. The word needed to be short
2. The word needed to be easy to say
3. The word needed to be unlike any other name or association

As Kodak cameras became more popular, the word “Kodak” – or rather the phrase “Kodak moment” – was used to describe occurrences that seemed ideal for a photograph.

Unfortunately, despite its initial success, Kodak’s popularity didn’t last. In 2012, the company filed for bankruptcy; in the years that followed, Kodak sold its photography patents and shed its camera business. And while you can still find Kodak cameras on the shelves, they aren’t made by Kodak; they’re simply part of a licensing deal that takes advantage of the Kodak name.

3. The first selfie?

Self-portraits are commonplace today; we even have selfie sticks and front cameras for easy framing! But did you know that the photographic selfie dates way back to 1839 (the year in which photography was first unveiled to the world)?

Robert Cornelius, a lamp manufacturer with a keen knowledge of chemistry and metallurgy, took on the task of perfecting an early photographic process, the daguerreotype, alongside chemist Paul Beck Goddard.

In 1839, Cornelius decided to turn the camera on himself. While the daguerreotype created surprisingly sharp images, exposure times were very long, at least initially – so Cornelius was forced to sit perfectly still for around 10 to 15 minutes. The resulting daguerreotype depicted an off-center rendering of Cornelius, the oldest-known, intentionally created photographic self-portrait.

4. The Blue Marble

While there are many Earth-focused photography facts, you can also have plenty of photo-knowledge fun with facts from extra-terrestrial adventures.

Taken in December 1972, The Blue Marble was captured by the crew of Apollo 17 on their way to the Moon. The picture was taken a whopping 18,000 miles (29,000 kilometers) from the surface of the Earth and is the first photograph to depict the entirety of our planet from space. The photograph subsequently became one of the most reproduced images in history; it also inspired and was used by countless activists in the environmental movement.

And just so you can have a bit of extra space-photography knowledge: Do you know what happens to cameras that are taken to the moon?

Hasselblad cameras have captured some of the most iconic images in history, including astronauts’ first steps on the lunar surface. However, due to weight restrictions, not all the cameras that have embarked on moon missions have made it back to Earth. To this day, up to 12 Hasselblad cameras remain on the Earth’s only natural satellite!

5. Photobooks are old

When was the first photobook released? 1950? 1900? 1880? Nope!

Photobooks have a rich history in photography, and Anna Atkins, a British botanist, seems to have started it all. Atkins learned early photographic processes from Henry Fox Talbot (who, incidentally, is the inventor of the calotype, one of the original photographic processes and rival of the daguerreotype). Atkins is also one of history’s first female photographers.

Atkins documented botanical specimens using the blue-tinted cyanotype process. She then compiled her cyanotypes into the 1843 publication of Photographs of British Algae: Cyanotype Impressions. From 1843 to 1854, Atkins produced several volumes of her Cyanotype Impressions series. Only 17 copies of the work still exist.

6. The most-viewed photograph ever

I’ve seen it! You’ve seen it! We’ve all seen it! Captured by former National Geographic photographer Charles O’Rear in 1996, Bliss depicts rolling green hills and a semi-clouded blue sky in Sonoma County, California. In 2000, Microsoft bought the rights to the image; the company then used the image as the default computer wallpaper for the Windows XP operating system.

The success of Windows XP and its corresponding marketing materials has led most researchers to agree that Bliss is the most-viewed photograph of all time. Even O’Rear himself conceded that he would probably be best known for the shot, claiming that “anybody now from age 15 on for the rest of their life will remember this photograph.”

Despite its surreal appearance, Bliss isn’t manipulated. O’Rear captured the photo using a medium-format camera on film. He said: “I think that if I had shot it with 35mm, it would not have nearly the same effect.”

7. Cameras aren’t eyes…right?

Here’s your final fascinating photography fact:

The camera lens and the eye have a lot in common – more than you might realize!

You see, all lenses have an aperture, the diaphragm through which light passes. Therefore, a camera lens can restrict the amount of light that reaches the camera sensor by adjusting the diameter of the aperture opening. Smaller apertures, such as f/8, let in very little light, while wider apertures, such as f/1.4, let in lots of light:

The wider the aperture, the more light that hits the camera sensor. Wider apertures also produce a narrower depth of field and hence stronger background blur effects.

And our eyes are the same! In the eye, the iris does the same job, relaxing and constricting muscles to regulate the amount of light entering the eye. When you move between light and dark environments, the iris in your eye expands or shrinks to alter the size of the pupil.

Interestingly, the human pupil expands to around 7 mm in diameter. This equates to around f/2.1, though the pupil narrows down to around f/8.3 in very bright light.

Fascinating photography facts: final words

Well, there you have it:

Seven photographic facts to impress family, friends, and more! As you can see, photography is full of amazing facts; if you have the time, see if you can share them all.

Now over to you:

Do you have a favorite photography fact? A fun fact I haven’t mentioned in this article? Share it in the comments below!

The post 7 Fascinating Photography Facts You Probably Didn’t Know appeared first on Digital Photography School. It was authored by Megan Kennedy.

it's from Digital Photography School https://ift.tt/aIYjohi
via Megan Kennedy

[Photography] White Balance in Photography: The Essential Guide

The post White Balance in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.

White balance. It’s a term that’s thrown around a lot in the world of photography, yet it’s unfortunate how many photographers are left scratching their heads when trying to explain or understand it.

Because here’s the thing: if you want to capture a scene as the human eye perceives it, then white balance should be on your radar. Mastering white balance, both during your shoot and in post-processing, can be the key to more natural-looking photos.

Therefore, in this article, I’m going to share everything you ever wanted to know about white balance, including:

• The white balance camera settings you should use for consistently good results
• How white balance can instantly improve your shots
• How you can use white balance for gorgeous creative effects in your photos

I’m also going to explain key related terms, such as color temperature, white balance presets, and more.

And I promise you: by the time you’ve finished this article, you’ll be an absolute WB expert! Let’s get started.

What is white balance in photography?

White balance refers to the process of removing or neutralizing color casts in your images – because at its core, white balance is about ensuring the colors in your photograph appear as they do in real life.

You see, different light sources emit light with various temperatures and/or tints. Ever noticed how a photo taken under fluorescent lighting sometimes has a blueish hue? Or how shots by candlelight can seem overly warm or yellow? That’s the effect of these different light sources on your images.

Since photographers often want to produce images that look natural, white balancing involves carefully adjusting your camera settings or editing tools to counteract these color casts. It’s about taking an image like this, full of distorted, too-blue colors:

And adding warm colors until you balance out the color cast, so you get a final result like this:

You might be wondering: If lights have such strong color casts, how come I never notice them?

It’s a good question with a simple answer: human eyes are pretty good at correcting for color casts in real time, but a camera captures the subject as it looks in life. Sometimes, the subject will have neutral tones, but other times it’ll be very blue (as in the pear photo above) and sometimes very yellow (as in the pear photo below). In both the blue and the yellow cases, white balancing is necessary to create a neutral image.

Here’s a too-yellow pear photo, which requires significant cooling during the white balancing process:

Note that, during white balancing, you’re adjusting the colors along two spectrums:

• The blue-yellow spectrum, also known as the color temperature
• The green-magenta spectrum, also known as the color tint

In general, natural light only requires correction along the blue-yellow spectrum, but certain types of artificial lighting may produce a noticeable color tint, in which case you’ll need to correct for that, too.

Color temperature explained

The bulk of white balancing in photography consists of color temperature correction. You’re correcting for a cast produced by the color temperature of the light, which lies along the blue-yellow spectrum.

Think of it this way: some light sources exude a more yellowish glow, while others lean towards a bluish hue. When we encounter the former, it’s termed a “warm” color temperature. Conversely, the bluish tint signals a “cool” color temperature.

Photographers refer to different color temperatures using the Kelvin scale. Warmer color temperatures, such as those produced by a candle flame or a setting sun, have a low Kelvin value, such as 3000 K. Neutral color temperatures, such as midday sunlight, have a medium Kelvin value – around 5000 K. And cooler color temperatures, produced by clouds or shade, have a high Kelvin value of 6000 K and beyond.

Cooler light has a high Kelvin value? Warmer light has a low Kelvin value?

Yes, you read that right, and it can be confusing, especially if you’ve never encountered the color temperature scale before. But you’ll get used to it over time (and it can help to think of the color temperatures as simply the opposite of what you’d expect).

Why is white balance important?

Color casts cause a couple of problems in photography.

First, they prevent you from capturing accurate, true colors in a scene. If you want to photograph a beautiful red sunset exactly as it appears to your eye, you’ll need to neutralize any color casts; otherwise, your image won’t match the real-life conditions you experienced.

This can also be an issue if you’re doing product photography or real-estate photography, where the goal is to portray the subject as true to life as possible.

Second, color casts tend to look bad. They can mess with portrait skin tones, they can create muddy shadows and sickly highlights, and they can create unwanted moods in your photos.

As I explain later in this article, you can use a color cast for creative effect – but it’s important that you do this carefully and deliberately, rather than as a failure to properly white balance a scene. Make sense?

The two white balancing methods

You can adjust the white balance of your images in two broad ways:

1. In camera, before taking a shot
2. Afterward, in post-processing

Both approaches can work, but there are some important caveats to keep in mind:

In-camera white balancing

Most cameras allow you to adjust your white balance settings before ever taking a photo.

For instance, you can select a white balance preset (such as Tungsten, Flash, Cloudy, etc.), which allows your camera to roughly understand and compensate for the lighting conditions.

Some cameras also allow for a custom white balance. Here, you simply dial in a Kelvin value (remember the color temperature scale I shared above?). A high Kelvin value will balance out cooler light and a low Kelvin value will balance out warmer light.

Your camera may even be capable of white balancing off a gray card. Put the gray card in front of your camera, select the right function in the menu, take a picture, and – voila! – your camera will create an accurate color temperature profile of the scene.

But while these white balance options allow you to handle color casts in the field, they come with some drawbacks:

1. Unless you’re in an enclosed environment, the light will likely change over the course of your shoot. You’ll need to periodically update your white balance preset or redo the gray card process as the sun goes behind clouds, as it sets, etc.
2. White balance presets, while easy to use, are only approximate. They often won’t produce a perfect result.
3. If you’re shooting action from a distance, taking a gray card reading is impossible.

That’s why some photographers prefer a different method of white balancing:

White balancing while editing

White balancing in post-processing is pretty simple:

Just set your camera to its Auto White Balance function when out shooting.

Then, when you get back home, open your photos in your editing program of choice.

Most editors offer a similar process, which involves using the white balance eyedropper to identify a neutral tone and fine-tuning via the Temperature and Tint sliders. (Below, I give a step-by-step process for white balancing photos in Lightroom.)

You can white balance each photo individually, or you can create a white balance adjustment for one (or a handful) of photos, then sync the adjustment across the entire set.

After-the-fact white balancing is nice, but like in-camera white balancing, there are a few points you need to keep in mind.

1. You’ll need to set aside extra time in post-processing to do your white balancing. And while you can save time with batch processing and presets, if you’re capturing lots of images under different lighting conditions, you may prefer the relative ease of in-camera white balancing.
2. Unless you take photos with a gray card in the frame, you may struggle to get a perfect white balance result with editing. In many cases, that’s fine – the color cast may be barely perceptible – but if you’re photographing products, your client may require literally perfect colors.
3. For complete white balancing flexibility in editing, you must shoot in RAW. While JPEGs allow for some white balance adjustments, you’ll be limited an often-unacceptable amount – whereas RAW files let you completely set and reset the white balance.

So while post-processing and in-camera white balancing are both serviceable, you’ll ultimately need to choose the option that works best for you.

How to white balance using in-camera presets

While white balance presets aren’t the most accurate way to color correct, they’re an easy way to get started (and if you’re simply capturing photos to share on social media, they may be all you require).

Simply pull up your in-camera white balance menu. You should see several presets, such as:

• Sunny, which works for mid-morning and mid-afternoon sun
• Shade, which works for scenarios with heavy shade (e.g., portraits under a tree)
• Cloudy, which works for outdoor scenes featuring overcast lighting
• Flash, which works for scenes lit by standard off-camera speedlights and pop-up flashes
• Incandescent, which works for indoor scenes lit by standard warm bulbs
• Fluorescent, which works for indoor scenes lit by fluorescent bulbs

Then pick the preset that most closely matches the lighting conditions you’re experiencing and start taking photos! You will need to pay close attention to the light as you continue shooting; if it changes significantly, you should switch presets to reflect the new conditions.

How to white balance your photos in Lightroom

Lightroom color correction is a quick and painless process.

First, open an image in the Develop module, then find the WB section on the right-hand side:

Next, select the Eyedropper icon:

Then click on a part of your image that should look a neutral gray or white. (Don’t be afraid to click in a few different places, especially if you’re not sure what counts as “neutral.”)

If you can’t find a neutral area to sample, or you don’t like the results, you can always head over to the Temp and Tint sliders:

You probably won’t need to adjust the Tint slider much, but feel free to drag the Temp slider back and forth until you get a neutral image.

How to creatively use white balance for different effects

While it’s always important to start by color correcting your photos, you can sometimes enhance images by deliberately pushing the white balance in the wrong direction. This generally works best when applied in a post-processing program, not in camera (though you can technically do it either way).

The idea here is simple:

By applying a too-cold white balance to your photos, you can create a somber, moody effect.

And by applying a too-warm white balance to your photos, you can create a welcoming, inviting, even nostalgic effect.

I don’t recommend you push the white balance too far – at some point, your photos may look unnatural – but a bit of cool or warm color is often nice when added carefully.

Note that you can also use an “incorrect” white balance to exaggerate the conditions of the scene. Adding cool hues will give images a shady or night effect, while adding warm hues will give images a sunrise or sunset effect. Again, use this technique with care. It’s easy to go overboard and end up with garish, unpleasant results.

White balance in photography: final words

Now that you’ve finished this article, you’re ready to start adjusting the white balance in your photos so you can capture truly lifelike, authentic images.

Remember, however: don’t be confined by the idea of “correctness.” As with many elements in photography, white balance can also be a tool for artistic expression. Explore, experiment, and embrace the power of white balance to transform the mood and atmosphere of your shots.

So go out with your camera. Practice working with white balance. And make your images shine!

Now over to you:

What do you think about white balance in photography? Do you have any tips for improving your results? Share your thoughts in the comments below!

White balance FAQ

Why is white balance important in photography?

White balance ensures that the colors in your images are accurate and natural. Incorrect white balance can lead to color casts, detracting from the image’s overall quality and authenticity.

What is the difference between white balance and color temperature?

White balance compensates for the color casts produced by either color temperature or color tint shifts. On the other hand, color temperature specifically refers to where the light falls on the blue-yellow spectrum.

How do I know if my white balance is correct?

The simplest indication is when the colors in your image appear natural and true to the scene!

Can you adjust the white balance in post-processing?

Yes, you can. Many editing software options allow for white balance adjustments, giving photographers the flexibility to refine the white balance even after a shot has been taken.

The post White Balance in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.

it's from Digital Photography School https://ift.tt/uqGrCpH
via Darren Rowse