I read with interest the article in the magazine I read online today. Absolutely and utterly wrong!! They change the colour.
They could change the colour temperature, as in the CTO, CTB gels talked about a bit later, but once you move from these few gels to the colours, then what they really do is take bites out of the rainbow spectrum that tries to pass through them. If you take out the green and blue, you get left with the red content. You get great weird ones too — Lee , Mauve — it appears to be a very dark purple — but anything yellow in the image, like a banana turns red!
If you stick a bit over the lens of your camera it can be very odd, and practically impossible to create as a colour tweak in the edit. Gel changes colour. Gels are designed for tungsten light sources, 3K or 3. The manufacturers have produced a totally different range of gels for LED sources that give the same colour on the subject from white LED light. A piece of tungsten gel and the identical colour effect LED gel look totally different to the naked eye, holding them up to a light source.
This is of course because light from a heated piece of metal filament has gentle peaks and troughs in the frequency response, while LEDs have very sharp and powerful spikes, with very large missing sections. If you make music videos, then gels have been your friend for years, now, far less so. I still buy CT gel- but be aware again that converting lights from colour to colour is more difficult that it appears. My own rule is to recolour the brightest light source.
Trying to blue up a tungsten source to match daylight is often ineffective. After 93 million miles, the sun is still so bright even a 2K tungsten source hardly makes an impact.
If the light from the sun comes through a window, then you can put CTO on the window and tint the sunlight an orange colour which lowers the apparent colour temperature of the sun. The light stays at 3 or 3. If you have inside lighting and mix tungsten and discharge, then colour treat the HMI. If your brightest source is say a 1. If you use a colour filter, light drops, but what colour?
A gel that cuts green would work, so a magenta gel allows little green light through, but that would be ineffective landing on a green surface? In these instances, try using a full orange gel combined with another slightly pink gel to recreate the hue of the light. There are hundreds of different colours and strengths of gel available, and manufacturers will often have sample swatches that can be purchased to try out.
The table above contains some of the most common types of colour-correction gel and the product numbers from the most popular manufacturers. It is usually quite easy to find out the colour temperature of lights that are used for photography. When it comes to balancing different types of light, it is therefore quite easy to work out roughly which gels to use, but for absolute precision the exact colour temperatures are necessary.
Using a tungsten gel over the flash means it matches the colour of the tungsten lamp, leaving no colour cast when the tungsten white balance is used]. Lee Filters has a handy calculator on its website that allows users to select the colour temperature of the light source to be filtered, and then the colour temperature of the light that is to be matched.
It then displays the colour filter gel, or different combinations of gels, that can be used to match the light sources. The gel calculator is free to use and is available at www. With traditional tungsten light bulbs now being replaced by energy-efficient ones, it is a little more difficult to know the colour temperature of the newer kind.
Older types of energy-efficient bulbs have the same colour temperature as a standard fluorescent lighting tube, while others are designed to produce a cool daylight colour. However, most current household energy-efficient bulbs try to replicate the colour of a tungsten bulb. When shooting with these bulbs, it is important to allow them to warm up fully to reach their peak operating temperature, as the colour of the light will change as this takes place.
The white balance of these bulbs is sometimes featured as a Kelvin value on the box, or included in the instructions. It is also possible to find out the exact colour temperature of a light using a digital camera. But in this video, Joshua Noel of PremiumBeat not only explains the basics of color temperature but also how to creative use gels to establish a mood.
As we've said before many times, color itself is a huge storyteller that can change the meaning of a scene instantly. This is why it's so important to know how to use gels when lighting, because they can be used in practical and creative ways, like to represent different times of day or to influence your audience's emotional responses. I then like to position a second light so it hits both the side of the model as well as the background. This light is a bare head—I use Dynalite heads for most of my work, which are designed with a built-in reflector—and I gel it with either my lightest pink as shown here or orange.
In this example, I used a snoot gelled with a light orange to mimic the warmth of mid-afternoon sunlight. I typically have three lights set up around my subject: a main light, a side light, and then a third light that I can move around to act as a rim light.
Above is a simple two-light setup. Directly on the other side of the model is a deep blue gel on a second light. I allowed both lights to bleed onto the white background.
My main light was gelled with a medium pink and placed at camera right. I positioned an umbrella directly overhead, gelled orange to light the hair. The third light, gelled teal over a large grid and placed slightly behind the subject, acts as a side light and provides a contrasting color to the pink and orange. Here, I wanted to add some color and design elements to the background while keeping the light on the model clean.
I set up my main light as per usual directly above the camera to light the model, and then I set up a strobe with a snoot high and to camera left, pointed downward, and placed it between the model and the backdrop. I used a full-saturation red gel in order to keep the darker tones of the background. To create the hard line, I had my assistant hold a small black card close to the light until I found an angle I liked.
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