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Nikon DSLR Cameras
D3100
Problems developing Raw files
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<blockquote data-quote="WayneF" data-source="post: 298700" data-attributes="member: 12496"><p>Adobe Raw does try to retrieve white balance from the Exif (calls it As Shot WB), but Nikon does not make that easy. There was the day (less than ten years ago, era of first CLS models, like D70) that Nikon encrypted Exif WB and declared it their private property and off limits for any access but Nikon. They were going around and around with Adobe, and had to reconsider this, and they relented, and it is not encrypted now, but Nikon still does not release information about how to interpret it, so it is all backyard reverse engineering. It is sort of a guess. I love the cameras, but Nikon does several things I could do without. <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /></p><p></p><p>But so what? The camera WB setting probably was not close to precise anyway. <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /> You will want to give WB closer attention. There are many colors of flash, or or daylight, or or incandescent, and the camera's "one size fits all" settings just can't do it well enough. We do have to deal with WB anyway. </p><p></p><p>There are a few ways, but best hint I can offer: Get a good white card for the white balance tool if you don't have one. WhiBal brand is a good one, but relatively expensive, probably overkill, but more than fine. A small one seems sufficient to me. The Porta Brace White Balance card, $5 at B&H, is just about as good in practice, more than good enough. Not fancy, just a known color. For only $5, we might quibble about the last couple of degrees K <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /> but it really simply does not matter that much. WB definitely matters, but we are looking for hundreds of degrees K, and the $5 card is more than fine too. Even lots of white things naturally found in our pictures work pretty well, far better than nothing or the camera settings. It is a pretty easy process.</p><p></p><p>I don't much bother with the white card for snapshots and routine sunlight stuff (only for more important or difficult stuff). There are tricks we can do with white things found naturally in the images, and we also develop our skill to handle it ourselves. Or we can use the white card once for a living room bounce flash session, and just use the same degrees K numbers for reference in similar settings next time. Involves some judging by eye, but the card helps teach us what's what. For sure, we can at least see what correct color looks like. <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /> But for critical studio flash work, the white card is extremely worthwhile, mandatory, and so simple. See <a href="http://www.scantips.com/lights/flashbasics1f.html" target="_blank">White Balance Correction, with or without Raw</a>. And you possibly might be interested in <a href="http://www.scantips.com/lights/flashbasics1g.html" target="_blank">Why shoot Raw?</a></p><p></p><p>But this lack of setting stuff should NOT be considered any disadvantage. We do need to get exposure into the ballpark, but otherwise, there is no setting in the camera (done before the picture is taken, perhaps before we even arrive to see the scene, perhaps last year sometime) ... no setting in the camera that cannot be done better by us after we actually see the image, and KNOW what it needs. <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /> And judge how it worked. Raw allows us to do it, with full range, and with easy camera oriented tools. These are the beauties of Raw. And also the lossless editing, we can change it many times, back and forth, losslessly (no compounded mess). Good stuff.</p></blockquote><p></p>
[QUOTE="WayneF, post: 298700, member: 12496"] Adobe Raw does try to retrieve white balance from the Exif (calls it As Shot WB), but Nikon does not make that easy. There was the day (less than ten years ago, era of first CLS models, like D70) that Nikon encrypted Exif WB and declared it their private property and off limits for any access but Nikon. They were going around and around with Adobe, and had to reconsider this, and they relented, and it is not encrypted now, but Nikon still does not release information about how to interpret it, so it is all backyard reverse engineering. It is sort of a guess. I love the cameras, but Nikon does several things I could do without. :) But so what? The camera WB setting probably was not close to precise anyway. :) You will want to give WB closer attention. There are many colors of flash, or or daylight, or or incandescent, and the camera's "one size fits all" settings just can't do it well enough. We do have to deal with WB anyway. There are a few ways, but best hint I can offer: Get a good white card for the white balance tool if you don't have one. WhiBal brand is a good one, but relatively expensive, probably overkill, but more than fine. A small one seems sufficient to me. The Porta Brace White Balance card, $5 at B&H, is just about as good in practice, more than good enough. Not fancy, just a known color. For only $5, we might quibble about the last couple of degrees K :) but it really simply does not matter that much. WB definitely matters, but we are looking for hundreds of degrees K, and the $5 card is more than fine too. Even lots of white things naturally found in our pictures work pretty well, far better than nothing or the camera settings. It is a pretty easy process. I don't much bother with the white card for snapshots and routine sunlight stuff (only for more important or difficult stuff). There are tricks we can do with white things found naturally in the images, and we also develop our skill to handle it ourselves. Or we can use the white card once for a living room bounce flash session, and just use the same degrees K numbers for reference in similar settings next time. Involves some judging by eye, but the card helps teach us what's what. For sure, we can at least see what correct color looks like. :) But for critical studio flash work, the white card is extremely worthwhile, mandatory, and so simple. See [URL="http://www.scantips.com/lights/flashbasics1f.html"]White Balance Correction, with or without Raw[/URL]. And you possibly might be interested in [URL="http://www.scantips.com/lights/flashbasics1g.html"]Why shoot Raw?[/URL] But this lack of setting stuff should NOT be considered any disadvantage. We do need to get exposure into the ballpark, but otherwise, there is no setting in the camera (done before the picture is taken, perhaps before we even arrive to see the scene, perhaps last year sometime) ... no setting in the camera that cannot be done better by us after we actually see the image, and KNOW what it needs. :) And judge how it worked. Raw allows us to do it, with full range, and with easy camera oriented tools. These are the beauties of Raw. And also the lossless editing, we can change it many times, back and forth, losslessly (no compounded mess). Good stuff. [/QUOTE]
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