WHITE ON WHITE
MIDDLETOWN CAMERA CLUB
::: ::: :::
We decided to spend one of our meetings shooting white objects on white background. Since our snow season was coming up shortly, we figured this would be a good time to get acquainted with how each of our cameras would handle such an extreme situation: how much, if any, exposure compensation will each of us have to enter into our cameras to get successful snow and other high key images? We each brought in white objects and discovered that sometimes, what looks white at home, is either a warm or a cool white when placed onto a true white background.
Also, we discovered that due to the differing quality/temperature of our light sources, we had to go to Auto White Balance. Cool blue window light conflicted with ugly fluorescent overhead lights. And then we also used on-camera flash, which is a third color temperature. Most of these images had to have their white balances "rescued" in post processing.
One thing became obvious to us while shooting: If our cameras had rendered the white backgrounds as looking darker than the white objects, then our brains refused to believe that the backgrounds were truly white! But if the cameras rendered the backgrounds as lighter than the white objects, then our brains said, "Oh, yeah, that's probably a white background." See the three images of the same Japanese tea set below. Each seems to show a white table cloth and a light gray background. But this background was just as white as the table cloth. Less light fell on the background, and so all three cameras rendered it light gray instead of white, by comparison.
** See the link below to read more about shooting white on white.
Click on the images to see a larger size.
** See this article, Shooting Extremes, for more info on how to shoot white on white.
Back to Home Page
::: ::: :::
Images copyright by their makers
Website design, text copyright 2022
Tone By Tone Dot Net
You are using CCBot/2.0 (https://commoncrawl.org/faq/)
and coming from