Posts Tagged ‘white balance’
With the addition of the ambient light instead of totally replacing it, on-camera flash can achieve interesting effects, and even subtlety. Experimentation is less complicated than ever before with digital camera models.
While on-camera flash works well enough as the no-frills light that at the least helps you to capture a recognizable image, it totally changes the view of any scene, usually dropping the backdrop straight out of sight. Approaches of working around this, however, including diffusing the light and employing it combined with an extended exposure. Modest number of diffusion is achievable by fitting a translucent attachment into the flash head, but you will find physical limits to this particular because the diffuser attachment has got to sit through the lens. More usual in interiors with low, domestic-style ceilings is by using bounce flash, swiveling the head upwards in order that the light spreads by reflection (simply with white or pale ceilings).
Contributing to the ambient light, however, is among the best reasons like on-camera flash, and there are a couple of variations from it. The first is shadow fill. This is especially useful shooting towards light and detail in objects facing the camera is frequently lost in shadow. All digicams have got a setting for this, where a smaller dose of flash is boost the longer exposure to be able to provide a balanced combination. The other variation is streaking with rear-curtain synchronization. In this particular, the exposure and flash output are similarly balanced, however the flash is timed by the end of the exposure. If you experience movement, in the subject or because you slowly move the camera, you’ll encounter trails of light terminating in a sharply frozen image.
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Among the variety of light sources used in photography, the artificial lighting found in houses, offices, city streets, and public spaces is often considered to be the poor relation. Daylight is purpose-built and so designed for camera and lens settings that are close to ideal. What remains, generally known as available, ambient, or existing lighting, can be problematic, but may also be interesting.
Available light used to be at best a challenge, with a great deal of built-in uncertainty. Available light levels are lower than ideal for use with film, so one of the issues was whether to sacrifice detail by opting for a faster and so grainier emulsion, or accept some movement blue by staying wit a fine-grained emulsion and using a tripod for steadiness. Another issue was color balance, involving first a choice of daylight or tungsten film, and second a choice of filter. This was on top of having a method of judging the color of the lighting; namely a color meter, experience, or guesswork.
Digital photography does away with all of this at a stroke, and available light becomes a pleasure – or at least an arena of lighting situations that is almost as easy on the camera as it is on the eye. This has some very important practical effects, on time and cost. There is almost no need for advance planning and calculation. You can decide in an instant what the color balance is likely to be then choose the appropriate white balance and check the result. If it is not quite right, you can go back to the menu and adjust it. It should take no more than a minute to reach a passable color balance in even the most difficult conditions.
And then there is the issue of cost, which affects the number of different shots that photographers attempt. Available light is often patchy, with the light sources themselves frequently in shot, and this encourages bracketing and different filter combinations just to be safe. Or rather, it used to encourage this, but now the immediate view on the LCD screen shows you what adjustments to make. No longer do you need filters, or backup rolls of tungsten and high-speed film, or a second camera body for them. A single digital camera has it all, and this surely takes the pain out of available-light photography.
<UPDATED! Green Screen Wizard Full Version 7.0 offers the latest in green and BLUE screen software power and control behind an amazingly simple and accessible user interface. This chroma key software provides professional photographers, as well as photography enthusiasts, a simple way to do green screen removal and substitutes their choice of digital background. Green Screen Wizard is a self-contained chroma key removal program that does not require Photoshop or other photo editing application to produce beautiful green screen photos. Learn more now and try a free demo version!