![]() His key or hero light was a Chimera Lighting Super Pro XL, a 54x72-inch softbox and he’d gel it with two layers of gel. ![]() He had a pretty ingenious trick for lighting skin that I had not seen before. He did a lot of the preliminary photographs of models the magazine was considering for Playmates. I once was acquainted with a contract photographer for Playboy Enterprises. Using a Godox AD200 with round head makes gelling easier as you can use the magnetic holder. Umbrella softboxes may need you to put a slit in the gel to get round the shaft. Basically you just put the sheet in where it will fit. Here's a video showing a softbox being colour gelled. Where would you put the sheet of gel in a strip soft box as a coloured rim? In front of the bulb against the first diffusion layer? Now that I think more on this I guess I was thinking of more creative situations (as you're right, colour correction would be in mixed kelvin situations). You can buy a sheet of gel that will cover a beauty dish and you can stuff a sheet of gel inside a softbox, 100% coverage isn't vital.īut if you have strobes in a studio why do you need to colour correct them? You are overpowering the ambient and, unless you have really cheap strobes, their colour temperature will be very close to each other. I see that you can buy gels that cover the outer surface of a reflector, however how gel a beauty dish or softbox? I've seen some people use heat resistant gels and wrap them around the bulb, though you can't cover it 100% in this way). Totally neutralizing the warmth of a wedding reception hall, for example, would feel too cold or sterile in my opinion.Bought a couple of strobes and trying to figure out how to gel them (eg colour correcting) when using a softbox or reflector. The aim is just to move the flash into the warmer territory, say about 4500˚K just to take some of the orange out of the ambient light when I balance for my gelled flash, but still keep the environment somewhat warm. Exactly matching my flash to the available light is not my goal. ![]() I can tape 2 or more gels to my flash if I need more correction.ģ. A full CTO (RoscoSun 85 #3401) is denser.Ģ. The 1/4 & 1/2 CTOs don't eat up more than a 1/3-1/2 stop of light, and since I usually bounce flash I need all the light I can get. Often the available light is warmer than my gelled flash, however:ġ. I leave two strips of gaffer tape on my speedlights at all times for this purpose. I'll tape them to my speedlights if I need the flash to more balance with the ambient light. When photographing events I always carry small 1/4 CTO (Rosco 3409) and 1/2 CTO (Rosco 3408) gels with me. ".speedlight.creates two different color casts to work with in post-processing." Your sliders will look something like below. In the HSL/Color panel, dial the orange down however much you need for the scene to look natural. Therefore moderate fill flash is often the best option if you're going this route.įor images with particularly warm light, you may need to dial a warm color channel back down slightly after adjusting white balance. Using a mounted speedlight flash on your camera can neutralize some of the red-orange cast of lighting, but this presents two problems. First, it makes you less conspicuous when sneaking around to take candid photos. Second, it creates two different color casts to work with in post-processing. Unfortunately, some indoor spaces have very strong warm lighting which can be difficult to process in editing later on. Incandescent lighting is warm for several reasons, none of which are important to photography (though they do look nice on skin if they're subtle). ![]() Sixteen years later, I find myself constantly dealing with the issue of incandescent lighting casting garish color casts on much of my indoor event and real estate photography. He did what every adult does who is frustrated with technology: handed it to a youngster and asked for help. My stepfather had purchased a point-and-shoot camera and was annoyed with the over-warm color tones plaguing his indoor images. One of my earliest memories of running into this photographic issue was back in 2003. ![]()
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