lawrence_smithers Posted May 3, 2003 Share Posted May 3, 2003 The variations in light quality and kelvin rating in nature macros is the bugbear of my existance. The light falling on such small subjects varies from full sun with blue skies,to cloudy overcast. The overhead shade turns the shadows blue and to add to the complexity the transmitted light through the canopy, varying from strong blue under conifers,to light green under desciduous trees but sometimes when the leaves have turned to yellow or red ,a much warmer effect. One can go with the natural effect,and hope for corrections in PS,use CC filters an expensive proposition,or use combinations of electronic light and reflectors to modify colour temperature.I would be interested to know just how you deal with this problem. Link to comment Share on other sites More sharing options...
paulrumohr Posted May 3, 2003 Share Posted May 3, 2003 Do you want true control or an easy fix? Link to comment Share on other sites More sharing options...
lawrence_smithers Posted May 3, 2003 Author Share Posted May 3, 2003 Hi Paul: As you suspected I`m just trying to stir the pot here but why not give us both solutions Link to comment Share on other sites More sharing options...
joey Posted May 3, 2003 Share Posted May 3, 2003 Nature photography generally implies the use of natural light. Why not use the light provided by Mother Nature, and use the color temperature to your advantage to create a mood? Like the saying goes, "When life gives you lemons..." If you must have control over the light, I think the flash/reflector combination would be easiest and most effective. Link to comment Share on other sites More sharing options...
joey Posted May 3, 2003 Share Posted May 3, 2003 Nature photography generally implies the use of natural light. Why not use the light provided by Mother Nature, and use the color temperature to your advantage to create a mood? Like the saying goes, "When life gives you lemons..." If you must have control over the light, I think the flash/reflector combination would be easiest and most effective. Link to comment Share on other sites More sharing options...
paulrumohr Posted May 3, 2003 Share Posted May 3, 2003 The easy answer is the 81 series filters for working in blue(ish) light and 82 series filters for working in red (ish) light. If you are in a green forest, use magenta (cc) filters. But WHICH of the filters should I use, and WHEN should I use them? Well without a color meter, I would recommend you use ALL of them and bracket, since somewhere in there is a result you are 90% to like. If you would prefer to shoot one or two pictures and get good color, alas you will have to pop $900 US for a color meter. Then you can hold your filters in front of the flat diffusion dome to determine the exact color of light your film will be seeing through said filter. Color meters are very important- even for color neg I'm discovering. You can try to fix errors in darkroom printing or photo shop. but this usually results in color casts/ crossover in shadow and highlight areas. Besides, don't YOU want to have those freakin incredible chromes that pro landscape and nature photographers show off? Sometimes I sit with my color meter outside in a local park and just watch it change. It changes quite a bit- there are often imperceptible changes I can't see with my eye that register strongly on my meter. And when a cloud comes by, or sun breaks through the clouds, the readings become quite a rollercoaster ride. These are the conditions we all shoot in. By the way, I have just recently measured many of my filters to determine their true color filtration values. I have tested Tiffen, Calumet, Kodak, Hoya and B+W. They really are all very different! Different enough to show up on film for sure. Try to look for a used color flash meter on ebay. You just won't find them very often, owners who know how to use them won't part company with them easily. They are really essential tools for consistency. Link to comment Share on other sites More sharing options...
dan_fromm1 Posted May 4, 2003 Share Posted May 4, 2003 Why don't you just make your own light and be done with it? Electronic flash has many advantages over available darkness, even though not everyone likes all of the "looks" it can give. Link to comment Share on other sites More sharing options...
dick roadnight cotswolds Posted May 5, 2003 Share Posted May 5, 2003 See "More than one flash with a Hasselblad" 15/1/2002. Link to comment Share on other sites More sharing options...
erik scanhancer Posted May 5, 2003 Share Posted May 5, 2003 Hi Lawrence, Being a rather experienced nature photographer myself I think I could be of some help to you. When I have no problems with carrying gear (I have a bicycle trailer that can be pulled by hand as well, very handy!) I use a full set of color compensating and color balancing filters in conjunction with a color temperature meter. I have done many tests with the films I use and have decided what color balance is best for each film. I have programmed my meter to that. However, many times I am not able to carry all this stuff. In that case I always carry 3 filters with me: 81A, 81B and a polarizer. With some training it is very well possible to choose the right filter and/or filter combination. In 95% of all natural circumstances this filter set will do. Just look through your filters and choose the one you like best with your eye. The color meter only comes in when you have the money to spend on it. A reflection screen is a further must for macro work. Choose one with a gold and silver side. Erik www.scanhancer.com Link to comment Share on other sites More sharing options...
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