On Fri, 18 Apr 2008 08:40:53 -0700, Tully Albrecht
wrote:

The wild card in all of this is fluorescent. In the days b.d.c. (before
digital capture) we futzed around with compensating filters for
avoiding the corpse-like hues in skin tones under office-type lighting.

I had a light box with Grow-Lux lights (in a studio) that actually did
a nice job on Caucasian skin, but the real problem comes from a mix of
fluorescent tubes of various color temps. Commercial buildings often
mix "cool white" with "warm white" or whatever they're officially
branded, and then as they age you end up with a whole spectrum of
(typically quite nasty) illumination. Trying to use filtration to tame
that beast is a fool's errand. Much better to turn off the ceiling
lights, try to get at least some window light in there, use strobes
with bounce/diffusion, and shoot daylight film.

All very fine IF you can turn off the offending tubes and bring in
your own lights. What if you are in a situation where you can't!?
Probably means setting a custom WB, perhaps filtration, and perhaps
even some post-processing.

Or, you simply accept the fact that colors won't be 100% good
throughout your entire image. Depending on the kind of image, that
may be acceptable, particularly with the "legacy" of "funny colors"
with film photographs.



For the problem posed by the OP, I would rely heavily on Photoshop for
selective (not global) color correction. Why hang more glass in front
of a digital camera than you have to?

Father Kodak