I have no idea whether there's a color balance filter out there that is the approximate equivalent of adding blue and subtracting red (which adds cyan) in Photoshop but maybe this will give you some idea of a direction to try. Another few minutes of effort would probably duplicate it, except of course for the water that your long exposure changed dramatically. By adding some blue (+33) and cyan (red minus 20) and fiddling around with the sky I got this result, which on my calibrated monitor is pretty close to your original. Any common filters out there that do this?If it's any help to you, I spent about 30 seconds in Photoshop playing around with the color balance of your Surf2. However, since I like a little warmth, I’d much rather find a single filter that adds less than 970 K (instead of a little more like the 80d) to leave some warmth, and see what happens. The Lee 80d – maybe a good filter to start experimenting with, though I think correcting the B+W will be a little more difficult (make that a lot more difficult) than simply adding a common filter like this one. We had a Lee resin 80d, and the Sekonic said it actually added about 1,000 K… The B+W’s 970 K drop suggested an 80d filter (which typically raises the temperature about 1300 K or so) would be a good place to start. Then we measured some “correction” filters that might be a good match for the B+W. Much more “neutral,” especially the Nikon. These changes, of course, would not be as noticeable to the naked eye (if at all). The Tiffen produced a 340 K rise (also more blue). The Nikon produced a 160 K rise in temperature (more blue). Even more technically, we had a chart that equated this change w/ a +40 nm shift.īTW, for comparison I also had a Nikon 2-stop and Tiffen 3-stop ND filter, and we measured these, too. This reading also suggests there’s a little more magenta in the actual film than appears in my scanning effort above (and confirms John’s B+W magenta cast in post #4). This was even more than I suspected, and I’d call it significantly un-neutral. I believe setting the WB individually may be best avenue.I just visited a local expert w/ a color meter, which provided some useful information about this rather un-neutral B+W filter.Īccording to the Sekonic, the B+W filter caused a 970 K drop in temperature (more red). I use LR6, Elements and Portrait Pro for editing in any combination or alone. I have adjusted Hue, Saturation, and Vibrance and been unable to come close to the original. So far I have found you can't remove the red cast. When adjusting theatrical lighting we do something similar. Since the camera converts the white to grey a card for white balance is a good idea. I always shoot DNG on manual, but on next outing will go back to LED's just to see if the Cactus flash units are the inconsistent light source causing the issue. The implication is that color temperature can change at different power levels with other flashes, but I haven't tested it. At work I use Einstein strobes and one of the selling points is shot to shot color consistency at any power level. You still might have to do some individual adjustments even after all of this, but hopefully you'll be at a better starting point. You may not like the finished look, but it can give you a neutral starting point. If you don't have a grey card a piece of white paper should work, but sometimes they have a color cast to them. You can take a white balance reading with the eyedropper tool in Lightroom and paste that into the rest. You can copy and paste those settings to all of the photos in a shoot to avoid having to do it by hand.Īnother thing you can do is have the model hold up a grey card in the first shot. Add a curves adjustment layer and under the RGB dropdown, select one of the color channels. You can also go to one of the images that looks good and write down the temp and tint values, then paste those into the others. Simply open your image in Photoshop and adjust your raw settings as needed. It might be a good place to start and you can tune it from there. Neither will probably be perfect since the light modifiers and the walls the light is bouncing off of may not be perfectly white. I hope you're shooting in raw! In Lightroom just over the white balance adjustment sliders there's a profile selector that starts at "As Shot." There's a setting called "Flash" and also "Daylight" that might be good.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |