Yes I could change the hues ect in either light room or photoshop, but that would come later. By adding the gels I can see the results in the digital world now, make adjustments and corrections and repeat. Then later I can make smaller adjustments if needed but I KNOW I am close. I have seen it on the LCD or the studio laptop. It also may save adjustment time later if I get it just right at capture.
Now in the film days we had to have one word because we didn't have the LCD. That word is confidence. We had to be confident in the knowledge that what we did would work as we expected. Usually it did, but stand up if you were never surprised when you got a roll of film back. Sometimes you would do everything exactly the same way you did it before, but something in the surroundings was different. Sometimes it would be something different in the equipment, and sometimes it was something the photographer THOUGHT they had done but didn't.
Still not all surprises are bad. The happy accident can be a great experience.
Another big advantage of using the gels instead of digital alteration is that the subject can also visualize the final product and know the effect you are trying to create. That is important if you are going to expect them to write a check for the results at the end of the day.
-------- Original Message --------
Subject: Re: DIY flash gels
From: PhotoRoy6@xxxxxxx
Date: Tue, July 14, 2009 12:51 pm
To: List for Photo/Imaging Educators - Professionals - Students
<photoforum@xxxxxxxxxxxxxxxxxx>
(Except for film users) why would anyone need any gel (except maybe gold to spice up flesh and flesh high lights) with automatic color balancing in digital cameras?RoyIn a message dated 7/14/2009 11:47:16 A.M. Eastern Daylight Time, mark@xxxxxxxxxxxxxxxxxxxx writes:I saw a blip on the web about a method of making your own flash gels.
They had a file with all 27 colors of flash gels you could take to
someplace like Kinkos, print them out on acetate and wha la you have a
flash gel.
