Filters of color
P N Stenquist
pnstenquist at comcast.net
Fri Jul 2 12:00:48 EDT 2010
I agree with David. Trying to correct stage-color lighting is
fruitless and near impossible. What's more, you'll lose too many stops
with filtration. I frequently shoot AWB in that situation and tweak to
my taste when converting the RAW.
On Jul 2, 2010, at 11:39 AM, David Parsons wrote:
> I'm wondering about the feeling that you need to 'correct' for the
> stage lights. No one expects the lighting to look natural at shows.
> Don't worry about blowing individual channels. You are not shooting
> under full spectrum conditions. If you are lucky, you get a spot on
> the lead or whomever is doing the solo, and let the rest fall where it
> On Thu, Jul 1, 2010 at 5:47 PM, Larry Colen <lrc at red4est.com> wrote:
>> Ecke's post about filter enablement tickled on of my neurons.
>> One of the places that I tend to shoot bands has the stage lit with
>> about 4 orange and red lights, and two blue and one green.
>> Occasionally this will lead to a nice effect, but usually just
>> needs to be converted to B&W. Also, if I expose to not blow out
>> the red channel, the blue and green channels end up about three
>> stops under exposed, leaving me with 75% of my sensor sites way
>> I've been thinking of trying to slap some blue filters on my camera
>> the next time that I shoot there, and realized that there's a good
>> chance that folks on this list might have some gathering dust in a
>> drawer, from the days when you needed to use a filter if you were
>> shooting with daylight film under tungsten lights.
>> Larry Colen lrc at red4est.com sent from i4est
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