The color differential will certainly be there if you've got a flash lit
foreground and incandescent or (ugh) fluorescent or (double ugh) mixed
light background. The only way around it is to put an appropriate
filter gels on the flashes to get their color temperature closer to the
background. But that's a lot of work for a reception type event in
order to sell some 4x6 prints. And even after you did it it would not
likely be recognized or appreciated by the customers.
To paraphrase my wife: "Just hurry up and make some prints. You're
just too fussy about those pictures. I can't tell the difference!" :-)
Chuck Norcutt
On 10/5/2010 4:16 PM, Ken Norton wrote:
>>
>> Just goes to show that exact color reproduction is not always what we're
>> after. There are too many digital/photography newbies who think that
>> everything needs to be white balanced. :-)
>>
>
> One of the things I always appreciated about Kodak portrait films is that
> when you white-balance the flash-lit subject, the background goes a neutral
> warmtone without picking up unnatural man-made colorcasts.
>
> I was just looking back through some pictures I took about five years ago
> with the E-1 and noted a similarity. Unfortunately, I've somehow lost some
> of that look. I don't know what's up with that. Same camera, but the
> workflow has changed as well as my style of lighting.
>
> Back in the day, I was running a 285HV on a Stroboframe with a couple sheets
> of diffusion material across the face of the flash. Then I changed to the
> Lumaquest LightDome. Now I use more off-camera flash, large diffusers and
> ambient light than ever before. Instead of subject-background isolation, I'm
> lighting the room and getting more background lighting. But at the same time
> I'm losing that isolation. Maybe it's time for me to revisit some old
> lighting techniques.
>
> AG
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