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I'm coming in a little late on the subject, but has anyone discussed how photojournalists use gels? When I needed to shoot with a flash in a room that had fluorescent light I would put a piece of blue-green gel over the flash to make the color of the light closer to that of the ambient lighting. It's much easier to color correct for one color of light in a scene than it is for two (ambient and flash). In tungsten light a yellow or orange gel worked just fine. Just my two cents, carry on... Hans On Jul 14, 2009, at 5:00 PM, mark@xxxxxxxxxxxxxxxxxxxx wrote: It will to a point IF you have auto white balance set. Even then there is a limit to how much it will remove. When you gel a flash, that is far greater than the cast you would get using a yellow wall for a bounce. The light becomes yellow and the camera can usually sense that. Still if you set the camera to a custom white balance then use say 5000 to 5500 light temp, the camera will react as if its a daylight balanced film. Some use a custom white balance for everything. With raw it can be adjusted later. "(Professional) photographers are like hookers: at first we started doing it because we liked it and it felt good, then we kept doing it but only for our friends, and NOW we're still doing it but are charging money for doing it!" – Dean Collins |
