D7100 - I need help solving the "green shadows" in skin tones problem

Started Apr 3, 2013 | Discussions thread
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Re: not a camera issue
In reply to scokill, Apr 3, 2013

scokill wrote:

Whalligeo wrote:

The above is an old Jedi trick I was taught a long time ago. I was shown the dark side and mastered the art of color management and high end monitors. The light saver of adobe is useless without knowledge. Much study you must, books many will teach.

Regards the best of,


All the best

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They said it couldn't be done, so I encouraged my peers not to bother.

Very nice.  Also if you are looking for a problem you will find it.  I'm reminded of a saying "the man who has limburger cheese under his nose thinks the whole world stinks"

Yep. Nice.

The dark side it is that foiling you must be.

Rudy, do you have a White Balance card?  It's a very useful device for moving your investigations out of the world of cant and guesses into the world of science.  Whenever the light is questionable, it can give you a reference for the proper setting of your picture's color balance either in camera or in postprocessing.  All you do is take a picture of your subject with the white balance card in it, then sample the image of the white balance card, and define it as your reference tone.  The D7100 allows you to do this in a couple of ways - Liveview white balance sampling, and white balance reference image.  Really precise types will invest in a Colorchecker matrix and generate a camera color profile for their postprocessing program which goes even further.

All of this, of course, presumes that you do one essential thing: manually set white balance.  Automatic white balance is only accurate over a fairly narrow range of lighting conditions - roughly from 4000-6500 Kelvin, which encompasses flash, sunny daylight, and early morning or late afternoon.  Anything else, including incandescent light, reflected light off of colored walls, etc., needs your personal attention.

Your wife's picture is in very tricky lighting.  Direct sunlight off her hair, face in shadows, bright piece of furniture immediately behind her face.  What's the right thing for an AWB algorithm to choose here?  And further, the white balance for each of those areas can differ.

After a while, you get to recognize suitable portions of the scene for white balancing and metering, and don't usually need the aid of a white balance card.  I always carry one but have rarely had to use it. Once one gets the hang of the AWB algorithms in one's camera, or stores a set of custom white balance settings that one likes, it becomes less of an issue, and you can let the camera do its thing, knowing that you know how to correct it in post.

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