[LRflex] Re: Was: Concentration; Now: Colour of light. (HELP!)

Sodium vapor lamp of some kind???  That would give a very yellow light.  Very 
cheap run as long as you don't need to make any accurate color determinations 
in your work.
 
Just guessing....
 
Aram



Date: Wed, 16 Jul 2008 07:03:32 -0700To: leicareflex@xxxxxxxxxxxxx; 
leica@xxxxxxxxxxxxxxxxx: dsy@xxxxxxxxxxxxxxxxxxxxxx: [LRflex] Was: 
Concentration; Now: Colour of light. (HELP!)At 15/07/2008, you wrote:
Hi David,Very interesting scene of the mill. I see you had some concern about 
the light? Best advice I can give on this type of situation? It’s there and 
that’s what it looks like on film or digi, so why try to do anything with it? 
Which I assume you mean to bring it to a better eye ball balanced look as you 
remember.However, forget it, shoot it and get the right exposure that is far 
more important. Everyone in the world will be quite amazed at your ability to 
shoot under the kind of conditions you described and show. Steel plants, 
refineries and you name of this ilk,  when it comes to these type of operations 
are lit differently. So its much better getting a proper exposure and 
composition than being concerned about the colour of the light.That is of 
course unless you have a lighting crew of dozens who’ll strobe light the plant! 
J That’s when you can think about light balance. J Real life light? Heck just 
go with what’s there on a perfect exposure, smile and walk away with a 
beautiful photograph as you’ve done here. Jted G'Mornin' Ted!You mentioned the 
light ... your advice being just to "shoot and go". But, the light I was 
referring to, was not the light in the photo of the concentration mill (which I 
was able to correct, within reason)... but to the light on the Ball/Sag Mill 
side.  This is the light you can see filtering through at the far left, in the 
concentration shot, I 
posted.http://www.furnfeather.net/Temps/Concentration.htmThe light on the Ball 
mill side is provided by some sort of lamps, the likes of which I've not seen 
before.  The images have a yellow cast similar to that provided to daylight 
film when shot under tungsten light, but much more so.   Experimentation has 
shown that the colours can be restored to some semblance of what I remember by 
reducing the colour temperature to 2000 Kelvin  (my RAW software, Silkypix, 
will not permit going any lower).  However, if I do this, although the colours 
come closer to what I saw, they take on a surreal look. While the mill's walls 
are starting to come close to their "natural" colour, the greens are still too 
weak, and the yellows much too strong.  Not to mention that in spots, they 
disappear all together, when they really were there, in the mill!I have posted 
three versions of one shot in the ball/sag mill.  The left is as taken (3292 
deg. K.),  the center one is the best I've managed, so far, with a colour temp 
of 2000K and, for comparison, a b&w image, at the right. All are 
at:http://www.furnfeather.net/Temps/SagMill.htmSo, Ted, although you say get 
the perfect exposure, smile and walk away ... would you provide the shot on the 
left to a client?  I don't feel that I could.I would appreciate any help from 
the digi-wizards on the list who understand these things.  How do I make the 
colours at least near natural?Many thanks.
---
David Young,       
Logan Lake, CANADA 
Limited Edition Prints at: www.furnfeather.net
Personal Web-site at: www.main.furnfeather.net
Stock Photography at: http://tinyurl.com/2amll4
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