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What is the secret of using color gel
Halloween time with Brad. Am I scary? Scarier than Angie? Oct 07 08 12:38 pm Link ReflectionzPhotography wrote: Your answer will be found with a flash meter and the ratio of your gel light to your main light you use for the exposure. Oct 07 08 12:43 pm Link Chip Willis wrote: AMEN!!!!! Oct 07 08 11:01 pm Link You can't duplicate all the things you can do with gels, in PS, especially if you're colors are bleeding into each other, which makes for a nice effect, or if you just want a warm hair/rim light. The OP isn't clear on how the gels are to be used (as background on seamless, on a set, hair/rim lights???) but I start with a meter reading, then adjust from there using the LCD. In the old days we'd spend a lot of money on Polaroids getting these right. Remember that your main light (usually bright, and white) will wash out any color it hits, so if you're using color gels on a background, keep the background several feet behind the model. Dean Collins had a formula that I use as a guide, where you read the model's light (the foreground) without the background firing. Then read the background without changing any settings - leave the background lights off. The background should read 3 stops below the foreground to enable the most reliable saturation on the background. Gray always worked best for me, but depending on the effect, black or white work well too. This is one of those things you really have to play with to understand it. A good opportunity for an old-fashioned test shoot. One of the quirks of color gels is how the various colors react differently to having their power (exposure) adjusted. For example, if you get a good bright "red", and turn the power up 2x or down by half, it will look pretty much the same. Blue on the other hand will get much brighter turning it up 2x, and noticibly darker turning the power down. Doubling the thickness will affect some colors more than others, and you can always sandwich them to make new variations. Purple is about the hardest to get to show correctly. I find it either gets too dark or too pink, so it takes a while to get it perfect. You have to try it. Here's an example of a tricky shot from a few years ago. Note that the background is painted metallic gray and there are huge mirrors on both sides of the models. All the blue is from gel'd lights, and there is a yellow hair light (which shows up better on the blonde than the brunette - sometimes you have to compromist) to pick up on the yellow buffing pads. The key here is to use main light sources that have a very narrow beam - grid spots are perfect for this - so that the white light doesn't bleed into and wash out the blue. Oct 08 08 04:05 am Link Oct 08 08 04:17 am Link |