Each article responds to a single question. In this post,
Jared Platt explains the difference between using a green gel and no gel.
I've shared a lot of Jared Platt's Profoto videos and posts because he's one of the leading educators in professional photography. Each post is always filled with strong "how-to" content designed to help you raise the bar on the quality of your images and technique.
Profoto's blog is loaded with great content. They're not just the leader in lighting equipment, but in education and support of the professional photographic community. Check out their blog and get yourself on the subscription list for their newsletter too. You'll never be disappointed in the information they're sharing.
There are more creative tools available to artists today than at any other time in the 175+ year history of photography, and many of them are thanks to Profoto.
Jared has a passion for staying on top of technology and helping you understand how to create stunning images. Now, imagine what it's going to be like spending a week traveling with Jared in his upcoming trip to Prague. Here's the link to find out more about the Prague experience with Jared and co-instructor, Bob Davis.
In my last post, I detailed the process of using color correction gels to match the colors of various light sources. It that case, we matched the flash (which is a slightly blue light) to overcast daylight (which is much more blue). Then we went the opposite direction and intensified the blue in the sky, by using a warm gel on the flash. If you haven’t read it, take a look, it is worth the read. Throughout the shoot, we nailed four variations that were are great, so the selection between them would be based on individual preference.
We took our model to the Arizona Railway Museum which sports a shiny railway car from the 1960’s, complete with beautifully hideous florescent lights from that decade. This is the color of light you can see and feel as odious with the bare naked eye. You know it is sucking your soul when you walk into the room, and it photographs with the same evil intensity. Of course you can find this kind of lighting in many corporate environments as well, although you will find that florescent lights have made some major breakthroughs in color temperature in this century. So the idea that all florescent bulbs are all evil is becoming less true as manufacturers have taken the temperature of CFL to exciting new lows, below 2700 K. Because of these advancements in technology, you can’t make a blanket statement that all florescent light will be at the wretchedly ugly temperature of 5000 kelvins. Now you need to do a little research into the temperature of your light sources.
When gelling is a must
The original setup
Adding the green gel
Location: The Arizona Railway Museum, Chandler, Arizona