Jeanette Harris on tue 6 aug 96
I have the whole set-up--neutral grey seamless paper, tungston lights,
excellent camera and lots of foamcore for bouncing light. I used
Ektachrome Elite 100 for the last set of slides and everything came out
yellow-ish. Do I need a grey or blue filter for my camera?
Previous pictures were taken in a yellow room with lots of blue water
reflecting and the color was true--did these two things cancel each other
out? I was using daylight film then.
All advise welcome : )
Kristin Conrad on tue 6 aug 96
>----------------------------Original message----------------------------
>I have the whole set-up--neutral grey seamless paper, tungston lights,
>excellent camera and lots of foamcore for bouncing light. I used
>Ektachrome Elite 100 for the last set of slides and everything came out
>yellow-ish. Do I need a grey or blue filter for my camera?
>
>Previous pictures were taken in a yellow room with lots of blue water
>reflecting and the color was true--did these two things cancel each other
>out? I was using daylight film then.
>
>All advise welcome : )
I believe what you need is different film. There is film made just for
Tungsten lighting. You can get it at any good photo store (but not at most
Kmart/grocery outlets). Ask the store personnel for advice, too. Most
really like to talk cameras and tech talk. Another good source for
film/advice is a professional quality photo finishing lab (again, not your
local quick photo place). They deal with professionals and amatuers alike,
and the staff usually shoot photography on the side and have a lot of
knowledge. They also carry film for sale.
I am contemplating shooting my own slides, too; so let me know how yours
work out. Do you know much about product lighting for ceramics? Do you
have any softboxes or filters for your lights to reduce the glare on shiny
glazes? I am not a professional photographer, but I did once work in a
professional photo lab, so I have just enough knowledge to be dangerous :-)
That's why I suggest you also talk to people who know more than I!
Oh, and your question about the yellow room and blue water - you were
exactly right -- the blue helped cancel out the yellow. I could get into a
whole discussion of how colors affect each other, but if you are going to
go the route of filters for you camera, I'll be brief. The following pairs
of colors "neutalize" each other (if you have an excess of one, use a
filter of the other):
Cyan and Red
Blue and Yellow
Magenta and Green
I'd try the film first, though.
Good luck!
Kristin Conrad
Rollinsville, CO
chull@startext.net on tue 6 aug 96
I believe the problem is that your film is not balanced with the
tungston lights you are using. A blue filter will offset that or you
can use a tungston film. I use Fugicrome 64T slide film (the "T" stands
for tungston) with quartz lights which works togather as well as with
the tungston lights. Kodak makes 64T also.
Cynthia
Jeanette Harris wrote:
>
> ----------------------------Original message----------------------------
> I have the whole set-up--neutral grey seamless paper, tungston lights,
> excellent camera and lots of foamcore for bouncing light. I used
> Ektachrome Elite 100 for the last set of slides and everything came out
> yellow-ish. Do I need a grey or blue filter for my camera?
>
> Previous pictures were taken in a yellow room with lots of blue water
> reflecting and the color was true--did these two things cancel each other
> out? I was using daylight film then.
>
> All advise welcome : )
Karl David Knudson on wed 7 aug 96
On Tue, 6 Aug 1996, Jeanette Harris wrote:
> ----------------------------Original message----------------------------
> I have the whole set-up--neutral grey seamless paper, tungston lights,
> excellent camera and lots of foamcore for bouncing light. I used
> Ektachrome Elite 100 for the last set of slides and everything came out
> yellow-ish. Do I need a grey or blue filter for my camera?
It sounds like you're still using daylight film coupled with tungsten
lights. The easiest thing to do is either use daylight or tungsten light
with their corresponding films. If you need to use daylight film with
tungsten light (I use it a lot because it's cheaper when I don't need
top-notch slides) there are filters availiable. If you are using 3400K
photo lamps you need a #80B filter, and if you have 3200K Tungsten lights
you need a #80A filter for use with daylight film. If you have tungsten
film and use 3400K photolamps you need a #81A, if you're using daylight,
you need a #85 filter. If you have 3400K (type A professional I think)
film and are using Tungsten light(3200K) you need a #82A, and a #85 if
you use daylight. Flourescent light light can be balanced with a type
FLB filter for Tungsten film and a type FLD filter for daylight film.
I believe that filter info is also available on the packaging of film as
well as included with a new filter. Any reputable photo shop should be
able to tell you more.
Karl
M. S. Davis on wed 7 aug 96
Neutral gray seamless paper is an excellent background for most pot
pictures. We use daylight Kodacolor for most of our pictures with 3200
degree K floods. Since this is a daylight film, it must be corrected for
white balance. This is done by using an 80A filter (blue in color)
available in most camera stores. If you are using 3400 degree K floods,
you should use an 81A filter. The advantage of using kodacolor daylight
is that one can simultaneously order color prints as well as slides. If
you choose the right processor, the slides which are made from the
kodacolor negatives will be of equal quality (so little difference you
can hardly tell the difference) to slide film according to my experience.
When you purchase the filter (we use Tiffen, one of the most popular
brands), there will be an enclosure which will give you in great detail
all the information about filters for a large variety of purposes: haze,
UV, polarization, fluorescent lighting, etc. Tiffen's 800 number for
advice is: 1 (800) 645-2522.
Morris Davis
Chapel Hill, NC
msd@unc.edu
On Tue, 6 Aug 1996, Kristin Conrad wrote:
>----------------------------Original message----------------------------
>I have the whole set-up--neutral grey seamless paper, tungston lights,
>excellent camera and lots of foamcore for bouncing light. I used
>Ektachrome Elite 100 for the last set of slides and everything came out
>yellow-ish. Do I need a grey or blue filter for my camera?
>
>Previous pictures were taken in a yellow room with lots of blue water
>reflecting and the color was true--did these two things cancel each other
>out? I was using daylight film then.
>
>All advise welcome : )
Valice Raffi on thu 8 aug 96
>----------------------------Original message----------------------------
I was using daylight film then.
Jeanette,
The film should be a tungsten film with tungsten lights. Also, there
should be NO daylight seeping into the room. You can use some "photo blue"
lights with daylight film. Processing is really important also. I once
took my film to a quick place (instead of a lab) and the colors were all
wrong. It's well worth the extra cost to get the slides developed at a
lab.
Because even the labs use a machine-process (unless you pay an arm & a leg
for custom, I have found it saves me heartache to shoot multiple shots of
each piece (usually 4-6 shots each), instead of getting duplicates. The
color then is the same on each slide. Also, because they are
machine-processed, I'm trying to shoot with additional space around each
piece (I've cut it too close & wound up with only part of my work on the
slide).
Good luck!
Valice
Patrick & Lynn Hilferty on thu 8 aug 96
>I have the whole set-up--neutral grey seamless paper, tungston lights,
>excellent camera and lots of foamcore for bouncing light. I used
>Ektachrome Elite 100 for the last set of slides and everything came out
>yellow-ish. Do I need a grey or blue filter for my camera?
>
>Previous pictures were taken in a yellow room with lots of blue water
>reflecting and the color was true--did these two things cancel each other
>out? I was using daylight film then.
>
>All advise welcome : )
The yellow comes from using a film balanced for daylight under tungsten
lights. Check the photo floods and you'll probably see that they have a
number on them, such as 3200K; You're looking for film AND light sources
that match. Don't bother with trying to fix the mismatch with filters- the
light lost can better be put to use stopping down for greater depth of
field. Use Kodak EPY64 with the appropriately matched light sources and all
will be well.
Patrick Hilferty
**************************************
Patrick Hilferty
E-Mail: philferty@earthlink.net
Web: Http://home.earthlink.net/~philferty/
**************************************
| |
|
