In which case the white balance set on the camera doesn't matter much.
That's the theory, as I've always read it to be online! The reality, at least on this happy old D200, is something else: the entire lot of images from the recent shoot, in differing lights, has looked strangely pinkish to me. I should have checked out the balance in Nikon's Capture NX2, through which I have to convert the NEFs into TIFFs, because there's a selection of stock colour balances that can be clicked, but I didn't bother doing that for some reason - perhaps because I almost never do have to use that function, so it wouldn't be first thing on my mind.
As I write this, I have just had a look into the menu system of the camera, and the
Flourescent setting is positioned directly above the
Direct Sunlight setting in the menu.
Now, I always have that set to
Direct Sunlight largely because in most cases, that's the area I'm likely to be found with the camera. However, I have a mixture of old lenses and a new 50mm G Nikkor that self-adjusts with the camera when it's being fitted to it, whereas the old lenses have to be keyed in via a menu in order to function with the metering. As I seldom change optics since buying that 50mm (it acts as 75mm on the cropped body) which seems to fit much of my shooting desires these days, my friendship with the menu system is less than carnal, as you can imagine, and so I do admit to having to run through a variety of the damned things to find the one that allows the old lenses to be mated properly. It's perfectly possible (for me!) to have inadvertently bumped the setting of the light balance in my frustration as I run through from menu to menu trying to find the one I need for something. I sure hope it's been my fault and nothing to do with the thing that lives inside the camera!
Nonetheless, in theory, why did that menu setting accident affect the RAW NEFs if only jpegs are meant to be affected by the setting in-camera? That camera has no memory of being used in jpeg mode.
Rob
