TECHNOBABBLE
ORIGINAL
WITH WHITE POINT MODIFICATION
WHITE BALANCE Settings Auto, daylight, shade, cloudy, tungsten light, fluorescent light, flash, custom, color temperature setting, custom white balance Auto White Balance Auto white balance with the image sensor Color Temperature Compensation White balance bracketing: +/-3 stops in full-stop increments White balance correction: +/-9 stops in full-stop increments *Blue/ amber bias or magenta/green bias possible
To find a true white point, after cropping, begin using the Image/Adjustments/Levels dialog box. For each separate channel (red, green and blue) move the shadows (black) slider in to where the histogram indicates there is data.Then move the highlights (white) slider in to where the histogram indicates data. The initial dialog box for the red channel is indicated at the far left. The subsequent dialog boxes show the modifications for the red, green and blue channels and the results obtained in the pictures above.
In camera and Photoshop, find
A true white point
T
WHITE BALANCE 1. Auto (hybrid with 1,005-pixel RGB Sensor, CMOS image sensor and external Ambient Light Sensor) 2. Manual (six steps with fine tuning) 3. Preset (five settings) 4. Color temperature setting in Kelvin (select from 31 steps) 5. White balance bracketing (2 to 9 frames adjustable in 10, 20, 30 MIRED steps)
he first time I helped to run a nation- rect color balance is equally important as for al workshop for videographers, also still cameras. The first step is shooting under the correct called television photojournalists, I was amazed at how the photographers had to in-camera white balance. Most digital cameras have settings for everything remember to balance their camfrom daylight to fluorescent and eras for the light under which The KELVIN SCALE is a permit a custom setting that they were shooting. As a photogtemperature scale where absolute zero—the coldest allows the photographer to find rapher shooting film, if I wanted possible temperature where a white object and “define” that to change the color balance of there is no heat energy—is the film, I had to put a filter in defined as zero kelvin (0 K). as white. However, due to subtle diffront of the lens or shoot with Its unit is the kelvin (symbol: K) ferences in lights, even when film specifically made for shootKelvin to Celsius °C = K - 273.15 the photographer sets the caming under something besides Celsius to Kelvin era correctly, it may be necesdaylight. K = °C + 273.15 sary, after cropping the image, Usually I didn’t give it a secKelvin to Fahrenheit to adjust the white point by ond thought. If I wasn’t shooting °F = K × 1.8 - 459.67 using the Image/Adjustments/ in daylight, I either accepted that Fahrenheit to Kelvin Levels dialog box. While there the picture might have a redK = (°F + 459.67) / 1.8 are other ways to find a true dish cast if it were taken under white point, this one is easy to tungsten light, such as that given off by an ordinary light bulb, or might have a understand and easy to teach. Other adjustments, including the use of green cast if taken under fluorescent light. Photographic daylight film is designed for the Image/Adjustments/Photo Filter, can also use with light with a color temperature of improve the color balance of the image, and, 5500K. Indoor film is designed for light with a with the white and black set, the rest of the image will appear much sharper and color temperature of 3400K. For digital cameras, shooting with the cor- colorful. n auto
46 • COMMUNICATION: JOURNALISM EDUCATION TODAY
tungsten fluorescent
daylight
flash
clouds
shade WINTER 2006
continued from page 48
BEFORE UNDER FLUORESCENT LIGHT
CORRECTED USING PHOTO FILTER
simply resurfaced under a guise of technicalities. Conscientious advisers advocate journalism that simply reports the news, journalism that editorializes only on the editorial page, journalism that does not condone or condemn letters to the editor but merely prints them. Journalism educators do so in an atmosphere where principals are being told by their associations, by their superintendents and by their school boards to “review, review, review.” Reports of these practices roll down those golden hills, right to our classrooms. Tales of woe permeate advisers’ workshops, where some schools, including those whose publications are self-funded, even self-supporting, are facing prior-review. All is not lost. There are still places in the Republic we call the USA where administrators believe in journalism. There are administrators who have studied ethos, logos and pathos and who know that good journalism stems only from quality education. Students who have their education censored do not receive a quality education. Unfortunately, censorship teaches students to lie, to hide, to cower, to abandon values and to participate in unethical behavior. That result is not what any of us want for our students. It is not the American way. It is not even the radical right or the lofty left way. It’s the wrong way. n
CORRECTED USING WHITE POINT TECHNIQUE Southern Interscholastic Press Association 2007
Before Photoshop, photographers would place a photo in front of the lens to compensate for different colors of light. 85 (AMBER) A warming filter that takes an outdoor scene lit by sunlight (which has a color temperature around 5500 Kelvin) and makes it appear to be lit by tungsten incandescent bulbs around 3400K. The filter allows an indoor-balanced film to be used to photograph outdoors. 81 (PALE ORANGE) Warming filter to decrease the color temperature slightly. The filter can also be used when shooting tungsten type B film (3200K) with 3400K photoflood lights. 80 (BLUE) Raises the color temperature, causing a 3200K tungsten-lit scene to appear to be daylight lit, approximately 5500K. The filter allows use of a daylight-balanced film with tungsten lighting. 82 (PALE BLUE) Cooling filter to decrease the color temperature slightly. WINTER 2006
Endless possibilities. One goal. Journalism.
SIPA Convention & Competition March 2-4, 2007 • Columbia, S.C. For more information: www.sc.edu/cmcis/so/sipa
schopress@gwm.sc.edu • p 803.777.6284 • f 803.777.4103
COMMUNICATION: JOURNALISM EDUCATION TODAY • 47