Color Temperature Meters and Architectural Photography

At least one very well known architectural photographer does not use a

color temperature meter. Others swear by them.

How can a color temperature meter be used for architectural

photography. What set of filters should one have on hand, and how

would one select these filters to make adjustments based on readings

from a color temperature meter.

You use a color meter to balance light source(s) to the film you are using. You use a

color meter to help determine how to balance different light sources to each other or

into an aesthetically pleasing whole. You use a color meter to help determine how to

balance different types of light sources to each other by using gels on one or both

the types of lights. You use a color temperature meter to help pre-visualize how the

final images color scheme in an image will come out: It is very possible to use a color

meter as an aid to expression, not just a tool to technical correction. They are

especially good if you are shooting transparency film, even the new Fuji Velvia 100F

and Astia 100F need help with this. Even if you shoot digital it is very useful as good

photographs are not always about "white balance"<P>The complete filter set you

need is: the 81 series (81, 81A, 81B, 81C, 81D, 81EF) the 85 series, the 82 series, the

80 series and Green and Magenta CC filters in different strengths from CC05 to

CC30. <P>A good color meter will tell you which filters (or lighting gels) to choose to

get the color to "neutral" with the smallest number of filters The best color meter on

the market today is the Minolta Color Meter IIIF. Even if you shoot digital or are very

knowledgeable in Photoshop techniques, it is very useful as good photographs are

not always about "white balance"

I agree with Ellis here! Sometimes, a little warm tone from the incadesent light

is nice on a home type interior but essentially you should have some filters to

filter out green (typically magenta filters), blue filters to filter out yellow from

incadesent, and a set of warming filters. Some people filter the windows,

some filter all the flouro lighting and if you have all of the above, your work is

cut out. I have done alot of restaurant work and highend homes so it is really a

matter of filtering out yellow from the incad. lights. I usually go with a lower

filter like an 80B or C or just use tungsten film but you also have to be aware

of the outside light coming in... as you can see, sometimes it is a real juggling

act! It helps to mount the filters behind the lens and the way I do this is to get a

gel holder from Calumet that is for rear mounting made by Xenophon. (http://

www.calumetphoto.com/syrinx/ctl?PAGE=Controller&ac.ui.pn=cat.CatTree&

ac.cat.CatTree.prodIndex.param=02;Camera+Accessories;007;Camera+

Filters;135;Holders&ac.cat.CatTree.prodIndex.branch.node3=135-007)