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03/05/2008 09:50:16 PM · #26 |
Originally posted by pikaboo:
wow dw - you've got an awesome talent and beautiful pics to prove it!! I'd love to pick your brain some time.. |
I already picked it. Got nothin. Seems IT IS all in the equipment. ;)
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03/05/2008 09:53:24 PM · #27 |
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03/05/2008 09:54:39 PM · #28 |
| no I was looking at some of his portfolio shots - wondering if PS or filters did the blue fade |
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03/05/2008 10:00:27 PM · #29 |
duh - there's a whole thread about it!!
I gotta go to bed - i'm so tired i'm stupid...
have a good night! :)
cpaaioti, dwterry, anyone i missed - thanks for all the tremendous help!! |
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03/05/2008 10:06:57 PM · #30 |
Let me suggest a completely different approach. Get something like this:
This is a 1000 watt halogen utility work light from a builders supply house. They are around $40 here. These are bright lights so you just turn them on and point them at your subject. It is much easier to tell what you are going to get than with flash or strobes--and you avoid all the hassles of attaching them to your camera.
You won't be happy with them for long. They are HOT and your subjects will be uncomfortable posing for long periods. But I think they are a good way to get started. It is much easier to learn how to do lighting when you can see the effects directly.
--DanW |
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03/05/2008 10:52:51 PM · #31 |
Originally posted by dwterry:
Originally posted by pikaboo:
Is there any difference in lighting when taking b/w vs. color? |
Yes, if you're using continuous lights versus flash. Flash tends to be balanced with the sun. Tungsten tends to be on the yellow side. Flourescent tends to be on the green side. Having light that is colored will affect your ability to get a good exposure when shooting color versus black and white.
Therefore, it is a lot easier to get a good exposure with "white light" (which is composed of all colors equally) than with a light that is made up of only some colors. |
Sorry pikaboo, but I have some technical obstructions I must chime in on.
First of all, Terry is describing the 'color spectrum' in terms of Kelvin.
All light emits its own color value within a Kelvin arena. The Sun, or Daylight is balanced at 5500 Kelvin (K), Tungsten is 3200K and cool white flourescents are balanced at 2800K.
And when shooting B&W, the color of the light, the color spectrum is a mute point. You can not tell what the color spectrum is on a B&W print.
Yes, 'white light' is easier to control, and manipulate. Tungsten is considered 'white light' at 3200K, but I have to disagree that it is on the Yellow part of the spectrum. It is in fact leaning twords the Amber, or Orange part of the spectrum. If your globe is old, or mismanaged with finger prints and dirt, or your reflector is dirty, or if you have a tungsten lamp on a dimmer system, then yes, I can see yellowing.
Flourescents are not all made the same. Cool White, and Warm White 'flo's' are the only tubes that casts a greenish color. There are daylight and tungsten balanced tubes available keeping that green cast at bay. Also, if you balance ALL of your lamps that you are using to the green color cast, or put a minus green filter on the lens of your camera (I wouldn't do this unless you know what you are doing!), you can in fact change the color temperature in post.
Home Depot is the poor mans lighting source.
Message edited by author 2008-03-05 23:04:35.
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03/05/2008 11:08:35 PM · #32 |
Darn ... should have typed orange instead of yellow. ;-)
Still, if your light is "colored" it is a lot harder to coax a full spectrum of colors out of your subject. Here's an experiment. Throw a pure red light on a subject that has multiple colors on it (say red, blue and green). Then, using whatever white balancing means at your disposal (beyond turning off the red light or adding other lights onto the subject) see how well you can pull blue and green out of subject.
Granted, tungsten and flourescent are not that extreme... I was only saying that it's "easier" to get good exposures with white light (light composed of all colors).
Anyway.
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