Fuji FinePix S3

lid wrote:
In rec.photo.digital.slr-systems Siggy

AFAIK the only way you can get away from the cobalt blue problem by
changing light source is to find one totally deficient in far red, to
which I can only say "good luck!" Snip

Well, Robin seems to imply that the problem has been pretty much licked by
using a combination of the *fluorescent* light tubes with double filtration
on camera - and I quote "By placing both the daylight and tungsten filters
on the camera, the optical densities of the filters are combined with a
greater effect on the far red portion of the spectrum............The results
show that colors imaged with fluorescent light and the double filtration
correctly reproduces the cobalt blue hues /without/ causing detrimental
effects on the rest of the colours"

So I am pretty hopeful that I can not only now achieve considerably greater
colour accuracy with less effort now with a dSLR, but also get rid of very
hot (heat) floods which I presently use in a confined studio. The only other
fly in the ointment I am trying to solve, is the one of reflections. I am
presently using 18" square resin polarizing gels which I suspend in front of
the floods to cut glare. This will be completely impractical to employ with
5' long fluorescent tubes, and has left me in a bit of a quandry. The use of
a polarizing filter on-camera is usually not sufficient, moreover.


I am beginning to look at spending more than I first thought.

Funny the way that happens...


Yes, isn't it just! My life story. lol

lid wrote:
In rec.photo.digital.slr-systems Siggy

AFAIK the only way you can get away from the cobalt blue problem by
changing light source is to find one totally deficient in far red, to
which I can only say "good luck!" Snip

Well, Robin seems to imply that the problem has been pretty much licked by
using a combination of the *fluorescent* light tubes with double filtration
on camera - and I quote "By placing both the daylight and tungsten filters
on the camera, the optical densities of the filters are combined with a
greater effect on the far red portion of the spectrum............The results
show that colors imaged with fluorescent light and the double filtration
correctly reproduces the cobalt blue hues /without/ causing detrimental
effects on the rest of the colours"

So I am pretty hopeful that I can not only now achieve considerably greater
colour accuracy with less effort now with a dSLR, but also get rid of very
hot (heat) floods which I presently use in a confined studio. The only other
fly in the ointment I am trying to solve, is the one of reflections. I am
presently using 18" square resin polarizing gels which I suspend in front of
the floods to cut glare. This will be completely impractical to employ with
5' long fluorescent tubes, and has left me in a bit of a quandry. The use of
a polarizing filter on-camera is usually not sufficient, moreover.


I am beginning to look at spending more than I first thought.

Funny the way that happens...


Yes, isn't it just! My life story. lol