Mixed Lighting in Public Spaces

[dperez]

This question was originally going to be a PM to Kirk Gittings, but I decided to just post it on the forum. I’m hoping to pick the brains of others that are more experienced at this kind of thing than I am.

Here goes:

I will be photographing inside a university library with my 4x5 using Kodak Portra 400 in a section that has a combination of lighting sources. The building has very large glass windows that provide most of the light, but there is also fluorescent lighting in the building.

In a situation where one cannot control the interior lighting due to the building being a public facility, how would one approach photographing an interior scene during daylight hours?

My intuition tells me to focus on the major light source, which is the natural light coming in from the large windows, and let the other light do what it will. I'm just not sure if there is way to compensate for the fluorescent lighting without throwing the temperature of the natural light off.

The other option would be to photograph the interior space at night, and just compensate for the fluorescent lighting... This brings me to my second question: Is it possible to use the white balance features of a DSLR as a sort of a poor man's color meter in order to arrive at an acceptable filtration solution?

Any help would be greatly appreciated.

-DP

[vinny]

In the motion picture world, we'd either switch out all the flo's to daylight balanced tubes or ignore them alltogether. Ignore them and correct any color issues in photoshop.

[Frank Petronio]

Go with daylight and fix anything obnoxious in Photoshop. If you use a pressure sensitive tablet it is possible to paint in area with less contrast, less green-cyan saturation, etc. or paint over with a warm-magenta color to cure the flouro cast. If it even appears, most likely the daylight will overwhelm it.

[Ivelin Metodiev]

Or try talking to the people there if possible to switch off the fluorescents for 5 mins. Personally I would go and talk to the caretakers to see if there's an opportunity to go there before they are open for the public. For example, if they open at 9, chances are there will be someone there at least an hour before - cleaners, caretakers etc. If you explain to them what you want to do and why, chances are you'll be able to sort something out. If you're actually a student at the uni chances are even higher.

I've done this in public buildings and I know people that have gained access to museums before of after hours, so it's not impossible.

[Jim Noel]

Wrong film.
Fuji color films handle mixed lighting far better than any Kodak product.

[dperez]

Wrong film.
Fuji color films handle mixed lighting far better than any Kodak product.

Jim,

I thought the jury was still out on the new Portra 400. I figured I'd give it a try. I've shot Fuji 160NS before and have no complaints, but I thought I would try something new.

-DP

[dperez]

Thanks Frank and Vinny. I appreciate the expertise.

-Daniel

[Henry Ambrose]

Wrong film.
Fuji color films handle mixed lighting far better than any Kodak product.

Not sure its wrong but Fuji Pro 160 (or whatever its called if you can get it) will do the job. But Kodak is not far behind if any at all. I have not used the newest Kodak film.

Either way, I'd shoot it and ignore the fluorescent lighting. A little "daylight fill" (flash) would help if you can do it.

[falth j]

Wrong film.Fuji color films handle mixed lighting far better than any Kodak product.

Since the OP didn't specify subject and requirements...

For argument's sake, how about WRONG (imaging medium) CAMERA...


Especially with mixed light, flourescents, etc., I'd use my digital, a white sheet with exposure referenced for color balance, and shoot away...

The results are nearly perfect...

[Kirk Gittings]

Digital IS far more forgiving, but were talking film. I prefere the Fuji it is IME more forgiving than the Kodak though I have not tried the newest Kodak.

Why are the photos being taken? Scanned?

Most architects want a space shot with the lights on in the daytime-the way it is normally seen. Twilight inside out shots can be sexy, but not as descriptive of the way the lighting design actually works.

Usually......usually unless there is green in the carpet etc. a simple desaturation of the greens in an adjustment layer can fix the green cast of the fluorescents in a daylight mix. If there is green in the carpet etc. it is a bit more difficult but doable usually with a mask on the A-layer. If the fluorescents are warm whites.....a hue adjustment of the yellows with a desaturation of the the greens will usually get you in the ballpark.