Category: Lighting

What If We Lit The Moon With A Light Bulb

What If We Lit The Moon With A Light Bulb

White balance is an interesting topic. How the colors of an image are represented are sometimes a subjective thing and sometimes not. Getting good skin colors on a portrait can make or break an image.

White balance is matching the color of your image to a known color temperature. For instance a standard incandescent light bulb has a color temperature somewhere around 2800 degrees kelvin while the sun has a color temperature between 5500 and 6000 degrees kelvin (k). These temperatures are not random numbers made up to confuse photographers. The Sun’s surface temperature is about 5773k so there is a correlation between its actual temperature and what we call daylight white balance in photography.

The lower the temperature given off by the source of the light the more orange it is. The higher the color temperature is the more blue the light is. If the light color is too low, as in infrared, the light will not be picked up by the photographic medium, as in film or a photo sensor. On the other end of the spectrum is light nearing ultra violet which is quite blue and again beyond the range of photography.

While the Sun is a main sequence star with, thankfully, a 10 billion year life cycle, most stars you can see in the sky are larger, faster burning, giant stars with surface temperatures up to 10,000k.

Our eyes and our brain do a pretty good job of correcting the white balance we see normally. Cameras can be way too literal it the way they process colors. Unless we get specific about the lighting conditions, colors in an image can be way different than what we see with our eyes.

Assuming that you have set your camera for the proper prevailing color temperature, daylight, cloudy, tungsten, etc. the colors should be pretty close to what your eyes see. If you are using an auto white balance mode on you camera the camera will take a best guess of what the colors should be.

In post processing we can adjust the color balance to what it should be or we can apply a color correction to give an image the impact that we perceived when we took the image. We use the white balance dropper in your choice of image processing software to choose an area meant to be white.

Beyond using an algorithmic method like the white balance tool, we can also adjust the white balance to suit our eyes. We can warm or cool the colors of an image by adjusting the white balance slider (and the tint slider see previous article) If an image is too warm with white things looking orange we can apply a blue cast to the image to bring it back to what we want the color to be. Alternately we can also apply an orange cast if the image is too cool.

So if we had lit the moon with an incandescent light when the color balance was set to daylight we would end up with a very orange moon like on the left side of the moons above.. To correct the color balance to get the moon back to the expected white moon we would move the color balance slider towards the 2800k side to correct the moon back to the middle ground.

And the opposite is also true, warming a color balance by introducing a lower temperature will turn the blue moon white then orange.

Godox and Fujifilm TTL

Godox and Fujifilm TTL

I decided to take Dave Black‘s Skateboarding preconference workshop at the recent Photoshopworld in Orlando. It was the kind of class I thought would be outside my comfort zone, and it was. The workshop was held at the Metro Skateboard Academy. Having the workshop indoors was pretty much a necessity as it is late spring here in Florida and it was quite hot. I wasn’t quite sure what the lighting would be like and Dave suggested bringing a flash along. I was envisioning some hard light flash images as I felt that skateboarding called for that kind of lighting.

I have several speedlights around but none compatible with the TTL1 and HSS2 in my Fujifilm X-T2 so I thought it was time to get something that would work for the workshop and for other opportunities that might come up.  I do work with a few manual strobes for studio shots etc. so I’m not completely lacking in that area but I have nothing that is portable.

I’ve been seeing a lot of people talking about Godox flashes lately and thought I would see what I could find. I looked at a few reviews and checked the specs of several companies flashes along with the Godox brand. The pricing of the Godox were in my comfort zone. I settled on the Godox TT685F.  Godox has a smaller flash, TT350F, but has only about half the power at GN363  than the TT685F which has a GN64 which is comparable to flash of other brands. The TT685F is about the same size as any other flash of the same power. It well built and comes with a pouch and a small stand. And the pricing is reasonable.

 

To trigger the flash using TTL you have several choices. You can mount the flash on the camera and let the camera talk directly to the flash. This works but is never recommended as it does give a deer in the headlights look to the image. You can purchase two flashes and put one on the camera and one off camera. The one on the camera talks to the camera and the other flash to pass along the TTL information needed by the flash doing the work. This works but you have to pay the same price for the flash on the camera and it doesn’t contribute to the actual lighting of the image just talks to the other flash. Or you can purchase a dedicated radio trigger that can talk to multiple flash and convey TTL information plus a lot more stuff to the  flashes doing the work. The second advantage to a trigger is that you can change the output of the flash from the trigger on your camera rather than having to go to the flash itself every time you want to adjust it.  Godox has two radio triggers that work with their flash units. There is a compact unit that has a small lcd screen that is inexpensive but I have found hard to use as the lcd is small and usually can only display partial information on the settings.  I chose to go with the larger Godox XPROF trigger with a big screen. It’s a bit bulkier obviously but I think you get a lot more functionality for  about $20 US more. The XPROF uses two AA batteries and is well built and can manage 5 or more groups of lights. I does have some features to adjust all the flash in all the groups at the same time.

 

The day of the workshop we all met at the conference and bussed off to the skatepark. It was quite interesting as they had built a swimming pool like bowl plus a lot of ramps and other things that would make for challenging skating. The lighting in the building was ok, the florescent bulb were probably daylight color balance but a bit dim for doing shots without a flash. I starting out without flash at ISO10,000 to get enough shutter speed to freeze the action. It didn’t take long before I brought out the Godox and tried some shots with the flash in one hand and the camera in the other. It worked out better that I expected.

Perfect! Well almost. The TTL worked  well. I adjusted the power of the flash down 0.7th of a stop from the trigger and was soon getting the images I envisioned.

There is a school of thought that TTL flash should be avoided like the plague but I tend to disagree. I was in a situation where the conditions were constantly changing and setting the flash to manual and adjusting the power (the TT685F goes from 1/128th to full power in 1/3 step increments) would mean that I would miss more images adjusting to current conditions than taking images. So I stuck with TTL and was happy with the results. You need to have your camera set to TTL to get the HSS working. Once you attach the radio trigger and turn everything my X-T2 automatically goes to TTL mode once the trigger is detected. The camera will stay in TTL mode as long as the trigger is attached. You can not change the mode to manual on the camera at that point as I think it needs the TTL mode to work with HSS. You can switch to manual mode at the trigger so everything just works.

In TTL mode the XPROF trigger allows you do adjust the output up or down in 1/3 stop increments. One of the advanced things you can do with the XProF trigger is called TCM. This is a button that will change the trigger and the flash to manual mode with the power setting from the last TTL shot. You set the camera and the flash to TTL then take a shot. You then press the TCM button and it will change the flash to manual at the last triggered setting. This can be an advantage if you want to work in manual mode as it gets you to the setting you need instead of having to shoot, look at the image, adjust, then shoot again. The TTL image may not be perfect but it should be pretty close.

There were over twenty of us including instructors at the workshop and we gave the skateboards a pretty good workout so the last half hour we setup up some stations where we could shoot portraits of the athletes. I put the TT685F on a lightstand and shot thru a small shoot through umbrella still using TTL.

All in all, I enjoyed the workshop and gave my self a bit of confidence that I can get outside of my comfort zone and get the shot. The Godox equipment worked well.  I probably could have used a little bit lower ISO (1600) and let the flash work a bit harder but noise was not an issue.  I used Powerex rechargeable batteries and one set of 4 lasted thru the 2 hours that I used them (about 200 images) without too much drop off in recycle time. So I recommend doing any Dave Black workshop and I think the Godox equipment will serve you well.

    • 1TTL is Thru the Lens. The camera talks to the flash and tells the flash how much power to use.
    • 3HSS is High Speed Sync. The ability to shoot with shutter speeds higher than 1/250 of a second on focal plane shutter cameras
    • 2GN is Guide Number. A number assigned to the power of flash through an algorithm that I can never remember.
Leaving the Dark Side or Working With Flash (the Dumb Photographer version)

Leaving the Dark Side or Working With Flash (the Dumb Photographer version)

I’ve been experimenting with a number of bright colored 12″ x 12″ sheets of paper that I picked up a while ago (at Michaels I think). Using flash with my FujiFilm X-T2. I was getting quite a bit of fall off from my flash from one side to the other of these small area images. At first I though I was just being bit by the inverse square rule. I thought it was a bit extreme but that was my first guess.

Then I realized that the fall off was not coming from the side away from the light but was consistently at the bottom of the frame. See shadows below to for light direction.

Light fall out = Fujifilm X-T2 XF 80mm 1:2.8 R LM OIS WR Macro

I tried adding reflectors to the dark side but still had the falloff. I could correct the images in post with a graduated filter to open the area. But it was not a perfect solution so I resorted to my, “when all else fails covert to black and white” (let’s hear it for Fuji’s ACROS simulation).

ACROS black and white conversion which looks nice even if you can see a bit of the fall off in the lower corners.

Frustrated I started out this morning trying one more time to try an figure out what was going on. The images were shot at less the the Fujifilm X-T2 maximum shutter speed so I dismissed it being caused by the shutter being set higher than the X-T2 maximum sync speed of the 1/250th of a second, above which the shutter is not open long enough to get all the image. The top image was shot at 1/60th of a second so it couldn’t be an issue with the focal plane shutter not being open long enough.

I change to front camera sync to have the flash fire at the beginning of the shutter opening and magically the falloff went a way.

Except it was. After a few more unsuccessful attemps this morning i realize that I had the flash set to rear curtain sync on the X-T2 which meant that the flash was not fired until the shutter was about to close. In fact at shorter shutter speeds the light was just not getting to the bottom of the frame.

With Scissors – Fujifilm X-T2 XF 80mm 1:2.8 R LM OIS WR Macro

Moral of the story is once again make sure you know all the setting of your camera and if the image is not turning out the way you like it, it’s probably your fault.


Seeing Double

Seeing Double

There are functions of your camera that sometimes get forgotten in the push to get the perfect image in your camera.  I was doing some hand held macro work outside in the back yard. There was a slight breeze so I switched the Fujifilm X-T2 to continuous low to spray a few images in the hopes of getting the one where the wind wasn’t shaking the leaves I was shooting.

I took a couple of shots then switched back to single shot, or so I thought.  On the X-T2 the multi exposure function is right next to single shot and I accidentally moved the drive lever to multi-exposure.  Not being a proponent of multiple exposures (i have enough trouble getting one image right) I switched back to single shot when I saw the prompts for next image.

Having never explored the in camera multiple exposure feature I thought I’d give it a try.  I had nothing to lose as the Sun was a bit to high and harsh and was giving too much dynamic range. I shot of an image and used that image to align a second image just slightly off from the first.  I really had no expectations but was pleasantly surprised by the result.

Seeing Double Fujifilm X-T2 XF80mm F2.8 WR OIS R – In camera multiple exposure

The two images together combined to keep the highlights and shadows within a range.  The light of the two images together returned the perfectly lit image I was looking for but not finding in my single shot images.  I really like the outcome.

Not that I will now go on a multi-exposure tangent but it is nice to remember there are other things to explore when you start working with your cameras features.


One Sun

One Sun

I think it was Joe Glyda that instilled in me the fact (which should have been obvious) that there is only one Sun. Trying to make you lighting too complicated can leave you with images that visually don’t make a lot of sense. Things like shadows going in two directions just isn’t natural. I’ve been paring back my lighting to just a basic one light setup. Recently I saw a video by Daniel Norton that made lighting as simple as it can get. One strobe light and one small reflector that came with the light, one sun.

Mums. – XT2 Fujifilm X-T2 Fujinon XF50-140mm F2.i R LM OIS WR ISO 200 1/200sec at F14 71mm

I placed the light on camera left and high flr about a 45 degree angle down to the flowers. Then it was just a matter of getting the lights power and the aperature correct. Not a lot of post processing needed to get the affect of sunlight on the flowers. I used a small black v flat at an angle behind. Simple lighting is the best.

Shot with Fujifilm X-T2 and Fujinon XF50-140mm F2.i R LM OIS WR at Amazon

ACROS To The Rescue

ACROS To The Rescue

Light is everything and some times it is just too much. This statue in the China Store at Epcot presented some real color balance challenges. There was enough light it just was of several different color temperatures.

Calm Fujifilm X-T2 XF 16-55mmf2.8 R LM WR f8 1/125 seconds ISO 3200 31.5mm

The original capture was quite warm with the statue being almost orange. After sampling several different areas this was about the best I could do.  I think there was incandescent lights, probably some hot halogen spots and from behind me an open doorway bringing in daylight. As you can see there a a blue cast to most of the statue while the midsection is orange. And then there is the magenta cast on the shoulders. There wasn’t one color temperature that covered all the lights.  But is this a throw away image? Nope, time for black and white.

Calm Fujifilm X-T2 XF 16-55mmf2.8 R LM WR f8 1/125 seconds ISO 3200 31.5mm

Because this raw file came from a Fujifilm X-T2 I had access to the all the Fujifilm ACROS2 Film Simulation profiles from within Lightroom.  For the conversion I used the Acros+G filter simulation.

I have to admit I love color images but sometimes I just have to surrender to the black and white muse. The Fujifilm ACROS simulations are just stunning. The tonal ranges are so mellow. Images you can eat off of.

I applied the ACROS+G simulation right over the above image.  I then moved the image into Photoshop as a smart object where I applied Google’s Nik Color Effects Pro 4 to the image for Pro and Tonal Contrast1. Just works.

Images shot with Fujifilm X-T2 and XF 16-55mm F/2.8 R LM WR


1 I got the Pro and Tonal Contrast Recipe from a KelbyOne class on processing aviation images by Moose Peterson. While Moose uses the recipe for bringing out detail on aircraft, it seems to work on just about any image.
2I couldn’t decide if ACROS was supposed to be all caps or not. In lightroom it is so I updated the post to ACROS.

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