>My wife and I have been asked to do a brochure for a shop nearby, and
>I'll be handling photographic duties. One issue I'll encounter is
>that light in the shop is all flourescent, but the store has VERY
>large windows. The flourescent/daylight is constantly variable.
>
>So - any suggestions for filters or techniques to avoid picking up a
>green flourescent cast?
>
>BBB
I'm really glad that you brought that up right now. (not that I know the
answer) But rather it's perfect timing to ask a pair of my instructors how
they handle both fluorescent and stadium lighting.
I've seen so much seemingly conflicting garbage in print about handling
fluorescent lighting mixed with other lighting. One book has the photog.
comparing both film type and the hue and type of fluorescent bulb (as
printed on the blasted bulb, no less) for use with a chart that looks only
slightly less intimidating than an atomic periodic chart. Another book
simply mentions the existance of "fluorescent filters". Another book has
one taking multiple light meter readings and somehow utilizing both film
type and fluorescent bulb tone to make some off the wall analysis. I'm
pretty sure that I've never seen a working pro taking office pics do much
more than screw on a filter, take a couple light meter readings and blast
away figuring that the boys down in printing will render it their own way
with the marvels of 200DBI mismatched color printing. ;-0
If it were me I'd probably just pick up a #30 Magenta filter, leave it in
the bag, and then proceed to just use whatever daylight color film I had.
It wouldn't necessarily come out right, but I'd have backed it up with
several B&W shots, and then I could convince the (client) how much better
everything looks in B&W, and how much $$$ they could save by printing that
way and, and .... (OK, so that's somewhat in jest.......... only somewhat)
Seriously though, I'm looking at a copy of Joseph Meehan's otherwise
excellent book on using filters, and according to his chart on using
filters just for fluorescent compensation, a working pro handling all of
the 7 (yeah, count 'em) different types of fluorescent lighting would need
a battery of filters likely to exceed the size of the photo bag just to
handle the blasted flour. lighting. I'm quite, quite sceptical of that.
Mike Swaim
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