Mixed lighting: Daylight & Tungsten lighting. How do you set WB?

Any one have suggestions or tips as to how they deal with venues with some

daylight and mostly tungsten light? I just had a wedding this weekend and am

dealing with some if it in post-processing. I'm trying to get the room less

yellow, but in doing so, where the daylight is coming in, it turns really blue.

Do I just go halfway and have some yellow and some blue?? What is the

"correct" way to fix this? Here is an example....<div></div>

O.K., humor me. Where is the daylight coming from? I guess you are using a fisheye on this shot and it is only for demonstration purposes. I kind of like the effect and would not change it much. However, in the future, I would just do a custom white balance and hope for the best. If you capture this photo in RAW, then you can make the correction in Lightroom. If not, then just tweak the photo to taste. My only concern would be, what do the Bride, Groom, and Guest look like under this lighting conditions?

 

George

I struggled with this for a while...with shooting a wedding and all the mixed lighting that can be involved. I started shooting a gray card frame in each room and then do a custom WB from it in the 5D menu. Since you are going to sort by time to maintain the chronology I assume, you can apply that same settings to those captured with the 30D. There is a tool in Lightroom that allows you to sample from your gray frame and apply adjust the WB to all of the frames in that series with one click. Real time saver.

Not addressing the post production specifically, but helpful perhaps. . . when I am presented with a scene of vastly mixed colour temperatures, which are area specific: I would frame the shot to accommodate those variables.

 

Particularly, as by using a 17mm lens exacerbates the condition.

 

Obviously this is not a specific Post Production answer you are looking for: but this generic line of thought comes from one who had to pay a darkroom lab tech by the hour to fix up any `mistakes` he made or lighting he could not control.

 

The same generic thought process saves time in Digital Post production, too.

 

I think that the change in orientation is better, as it better draws the eye toward the Bridal table: but that is an opinion, not mentioned as a topic of argument.

 

WW<div></div>

Are you working on this image from the RAW file?

 

WW

For existing shots, I'd process each frame for both lighting types and blend in PS.

 

On the job, I'd usually gel the flash for tungsten in conditions like this and use the flash

as main light, except by the windows. Near the windows, I'd use the flash bare and

process with a daylight WB.<div></div>

The "correct" fix is to put CTO gels on all the windows and shoot tungsten. But I'd do what Grant did.

 

Sometimes when you have mixed light temperatures some light sources are brighter than others and in those cases one could color correct shadows, midtones and highlights differently.

 

Peter

Or convert to B&W.

For that particular shot, I would have gone into Hue/Saturation/Lightness, picked cyan and desaturated & lightened it. Nothing else in the frame was supposed to be cyan anyway.

I really like the original. No need to mess about with it IMHO.

I wouldn't change a thing.

 

I shoot raw and wb later according to taste, often exaggerating the blue/yellow mix as I happen to like it.

Sorry I'm so late on this post. Thanks for everyone's responses!

 

So, for this image, yeah... I don't mind it the way it is. However, I do have images where people's shirts or faces are blue, because they are lit by the daylight coming in through the windows. Any suggestions?