Name: Jeremy & Anna
Location: Pacific Heights — San Francisco, California
I am an Industrial Design Student at California College of the Arts and my boyfriend Jeremy is a Dental student. We live together with my dog Lobo in this one bedroom apartment. We are on the 5th floor of a large Edwardian apartment building, so we get lots of light, which is a stark contrast to our last place where we couldn't even keep house plants alive.
Sometimes the odds are against you. White balance with one light source, while shooting in RAW, is pretty easy to deal with in post production in the case that your camera didn’t get it right the first time. Lightroom, and many other programs, offer some preset situations and settings (daylight, shade, tungsten, etc…). Click a button and you’re done.
What about when the scene includes two different light sources? In this post we’ll take a look at how to adjust settings when a scene contains both indoor incandescent light and outside, overcast light. While this example is finite, it can be used in a variety of light combinations with a few tweaks.
This photo was taken at the set of the Marty Riemer Show, a podcast on which I appeared earlier this month as a guest talking about giving up the corporate world for the freelance traveling/photography life. This was my first time in a studio of this sort (in his basement) and I wanted to get some shots showing how things went together. As you can see, there are strong incandescent lights overhead in cans and then light from a gray Seattle day flooding in from windows. This image is the original and how the camera picked up the scene on Auto White Balance. The only thing I have adjusted for at this point is the lens correct as it was shot at 10mm.
The camera chose ISO 1000, f/3.5, 1/15 and a temperature setting of 4450K. This is slightly higher than the standard range for an incandescent light bulb, which is between 2700-3300K. The first task is to pick the dominant light source (incandescent) and bring the temperature closer to that range. For me, that setting was 3250K.
Now I want to cut out the blue colorcast from the windows. In this case, I lower the Blue Saturation to -38.
This is enough to remove a fair amount of the colorcast while not effecting the scene too much. The blue on the screen suffers just a bit and much more saturation loss would leave it white.
The problem for me at this point, is Marty has better skin tones than this image represents. Simply reducing the temperature and removing some blue is not enough and only subtracts from the image. To make these next adjustments I have found it is easier to go overboard. My next step is to jack the saturation up to +100.
This overblown version lets me see just how much yellow and orange colorcast is left from the incandescent lights. It’s time to fine tune. First I drop the Yellow Saturation down to -67 to remove a some of the colorcast. Second, the Orange Saturation is dropped to -21 as it is a major component in incandescent light.
Lastly, I bring the overall Saturation back to +57 to keep some of the warmth in Marty’s skin tones.
Had I gone all the way back to a Saturation of 0, the scene is lifeless and anemic.
From here, other adjustments can be made to freshen up the photo, but I’ll stop at this point as this post is only about trying to get the most from two sources of light. While this technique will not work in every instance, it is handy for photos when a second light sources is seeping its way into your enjoyment of the image.
Sometimes the odds are against you. White balance with one light source, while shooting in RAW, is pretty easy to deal with in post production in the case that your camera didn’t get it right the first time. Lightroom, and many other programs, offer some preset situations and settings (daylight, shade, tungsten, etc…). Click a button and you’re done.
What about when the scene includes two different light sources? In this post we’ll take a look at how to adjust settings when a scene contains both indoor incandescent light and outside, overcast light. While this example is finite, it can be used in a variety of light combinations with a few tweaks.
This photo was taken at the set of the Marty Riemer Show, a podcast on which I appeared earlier this month as a guest talking about giving up the corporate world for the freelance traveling/photography life. This was my first time in a studio of this sort (in his basement) and I wanted to get some shots showing how things went together. As you can see, there are strong incandescent lights overhead in cans and then light from a gray Seattle day flooding in from windows. This image is the original and how the camera picked up the scene on Auto White Balance. The only thing I have adjusted for at this point is the lens correct as it was shot at 10mm.
The camera chose ISO 1000, f/3.5, 1/15 and a temperature setting of 4450K. This is slightly higher than the standard range for an incandescent light bulb, which is between 2700-3300K. The first task is to pick the dominant light source (incandescent) and bring the temperature closer to that range. For me, that setting was 3250K.
Now I want to cut out the blue colorcast from the windows. In this case, I lower the Blue Saturation to -38.
This is enough to remove a fair amount of the colorcast while not effecting the scene too much. The blue on the screen suffers just a bit and much more saturation loss would leave it white.
The problem for me at this point, is Marty has better skin tones than this image represents. Simply reducing the temperature and removing some blue is not enough and only subtracts from the image. To make these next adjustments I have found it is easier to go overboard. My next step is to jack the saturation up to +100.
This overblown version lets me see just how much yellow and orange colorcast is left from the incandescent lights. It’s time to fine tune. First I drop the Yellow Saturation down to -67 to remove a some of the colorcast. Second, the Orange Saturation is dropped to -21 as it is a major component in incandescent light.
Lastly, I bring the overall Saturation back to +57 to keep some of the warmth in Marty’s skin tones.
Had I gone all the way back to a Saturation of 0, the scene is lifeless and anemic.
From here, other adjustments can be made to freshen up the photo, but I’ll stop at this point as this post is only about trying to get the most from two sources of light. While this technique will not work in every instance, it is handy for photos when a second light sources is seeping its way into your enjoyment of the image.
Post from: Digital Photography School
Light & Land has announced a number of photography workshops in some brand new locations next year.
Light & Land has announced a number of photography workshops in some brand new locations next year.
Light & Land has announced a number of photography workshops in some brand new locations next year. These include classes in Jordan and Puglia, led by Charlie Waite, a workshop in Libya with Giles Stokoe and aurora hunting in Lapland with David Ward and aurora photographer Andy Keen. Full details including locations, dates and prices can be found at the website below.
Website: Light & Land
Light & Land Press Release
Light & Land launches brand new tours for 2011 including Aurora Hunting in Lapland!
17 December 2010
Light & Land – the UK’s leading photographic tour company - has announced workshops in some brand new locations next year. Light & Land has always been famous for its pioneering trips to exciting locations and 2011 will not disappoint!
Light & Land works only with the very best photographers and trainers, with exciting new locations now including:
Jordan – with Charlie Waite
Aurora Hunting in Lapland – with David Ward and aurora photographer Andy Keen
Libya – with Giles Stokoe
Puglia, Italy – with Charlie Waite
Full details including locations, dates and prices can all be found at http://www.lightandland.co.uk
Established for more than 16 years, Light & Land is the original photographic training company, offering more photographic tours and travelling to more countries than anyone else, providing photographic experiences of a lifetime.
With Travel Trust Association accreditation, Light & Land is one of very few companies in the market who comply with the law, giving you total peace of mind that both you and your money are in safe hands!
Details of all of these exciting new locations can be found at http://www.lightandland.co.uk or if you’d rather speak to one of the team in person, please call the Light & Land office on 01432 839111 or you can email .(JavaScript must be enabled to view this email address) .
For all of the latest news, you can also follow Light & Land on Facebook and Twitter:
http://www.lightandland.co.uk/latest
Photo: Andy Keen
Light & Land has announced a number of photography workshops in some brand new locations next year.
Looking for a new light meter to aid in your photography related endeavors? Well look now further as Sekonic has come forth today to put on display their DigiCineMate L-308DC. This easy-to-use light meeter features a wide array of different options for use with DSLRs, camcorders, and even run of the mill compact digital cameras.
Unfortunately, there is no price point or release date yet pineed to the DigiCineMate L-308DC but as soon as we hear of one we’ll send it your way.
via dcviews
