Forums > Photography Talk > What is the secret of using color gel

Wardrobe Stylist

Victor Lotus

Posts: 46

Los Angeles, California, US

Halloween time with Brad.  Am I scary?  Scarier than Angie?

https://www.wmagazine.com/images/celebrities/2008/08/cess_brad_02_h.jpg

Oct 07 08 12:38 pm Link

Photographer

JONATHAN RICHARD

Posts: 778

New York, New York, US

ReflectionzPhotography wrote:
I guess the question is how do you meter color gel to get the best colors out of them.Sample maybe with using fog etc.

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.

Set as a 1:1 and you will see something close to the filter color.. increase the stop ( faster ) of your gel light in relation  to your main light reading ….will produce a  deeper  color …decrease your f stop  reading  from the gel ( smaller aperture )  and you will see a lighter  saturation color   of the gel .
If you expose (chromes or digital ) in half stop ratios  to 2 ½ stops  above and below your main light you can in essence dial in your gel saturation color to whatever you or your client would like to see in the final image just short of black or white .
Set up your gel on to a medium gray paper( lighter or darker backdrops will increase or decrease the  brightness of the gel color  ) ….Expose for your flash meter reading..That will be your base filter color saturation … bracket up and down in half stop increments..Record these images and you will have a set of dial in saturation   values that you can use for any main light exposure f stop .

Distance has practically nothing to do with controlling the saturation of your gel color other than allowing you to achieve a f stop reading on your gel light that can’t be set with your power pack controls .

But remember this will change the color  gradient effect across a backdrop of the gel light.

Distance is best used for adjusting the gradient effect of the color not the saturation

A better method than using distance when your equipment limits the amount of light you can control (up or down) for setting your gel f stop ratio is to increase or decrease   your main subject exposure light which will change your subject exposure f reading and thus allow a means of adjusting the gel ratio by adjusting your main light  and not the gel light itself .

Oct 07 08 12:43 pm Link

Photographer

Dallas J. Logan

Posts: 2185

Los Angeles, California, US

Chip Willis wrote:

Why are people compelled to give nonsensical advice when their own experience is lacking on the subject at hand?

The OP didn't ask how to do gels in PS, he asked for specific into on using gels while shooting. If you don't know, then it would probably  be better if you never said a word.

Perhaps working on both of your own portfolios should be more of  a concern.

AMEN!!!!!

Oct 07 08 11:01 pm Link

Photographer

Andy Pearlman

Posts: 3411

Los Angeles, California, US

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.

https://www.apstudio.com/portfolio/bap/BuffShine.jpg

Oct 08 08 04:05 am Link

Photographer

Archived

Posts: 13509

Phoenix, Arizona, US

https://modelmayhm-3.vo.llnwd.net/d1/photos/080502/05/481ad93be20b1.jpg

Oct 08 08 04:17 am Link