I've read about a couple of architectural photographers who typically shoot
using existing office lighting. They use a color meter to measure each
fluorescent tube, then swap tubes around until only those of matching output
characteristics are turned on at any given time. The camera is filtered
appropriately and that particular portion of the room is exposed. The
shutter is either left open with the lens covered, or set for multiple
exposures, and the process is repeated for the entire project. The result,
a properly exposed and filtered room using only the existing available
lighting fixtures.
Whew! To each his own.
Lex
===
From: miaim@xxxxxxxxxxxxxx
Subject: [OM] Re: fluorescent/daylight mix
Date: Wed, 26 Jul 2000 22:42:45 -0400
OK, as I mentioned, I asked around about this. Here are the responses:
Wedding Pro #1: "That's why they make FLD filters."
TV cameraguy who moonlights as wedding/office portrait guy for hire: "Turn
off the fluorescents and either use lights you brought with you, or if the
daylight from the windows is strong enough let it be the only light.
Alternatively, you could leave the fluorescent lights on and over power
them with flash but this will still leave a greenish tint to the
background."
Instructor #1: "Use a #20 magenta filter on the camera and a green gel
filter such as 'Tuff Green' on the flash."
Instructor #2: (Concurs completely with Inst. #1) "A number 10 or #20
magenta filter coupled with a bit of green filter over the flash head
should take care of _most_ fluorescent lighting situations, but there will
be some that you'll have to really experiment with to find the best
solution."
[snip]
Mike Swaim
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