Wedding Photography Tips for Beginners – How to Properly White Balance Your Photos Part 2
These two articles I have written will hopefully aid you to properly maintain white balance in your images as you shoot a wedding. I mentioned in the first article that at a wedding there are many sources of light that are competing to be the main light in a photo. If these different light sources have different color temperatures, your photos will have a color cast to them.
For example, a room with a fluorescent ceiling light that also has a tabletop tungsten lamp in the room has two different light sources with two different color temperatures. If you leave both of these lights on, and include them as light sources in your image, you will never be able to achieve a proper white balance. To keep this from happening, learn to identify your main light source, then try to match your fill light to it. In this example, the easiest thing to do would be to turn off the tungsten light. If you were going to use your flash as fill in this situation, you would need to put a colored gel on to match it to the fluorescent light coming from above. As I stated in the first article, if daylight is your main light source, there is no need for a colored gel. How do you choose which colored gel to use when necessary? This is exactly what I am going to talk about in this article, gelling your flash in complex lighting scenarios.
Indoors you will normally be faced with one of three main light sources. These are: daylight, florescent, and tungsten. When you enter a room you will need to be able to identify the main source of light, then match it. I talked about daylight in the previous article. If your light source is florescent, they you will need to put a florescent gel on your flash and set the white balance on your camera to florescent lighting. Nowadays there are many different types of florescent lighting with different color temperatures. This means you will need to carry a few different florescent gels with you. Likewise, you will need a few different CTO gels to match different types of tungsten lighting. These tungsten gels are: full CTO, 1/2 CTO, and 1/4 CTO. As before, put a CTO gel on your flash and set the white balance on your camera to tungsten. With either a florescent gel or CTO gel, try different ones out and see what matches best the main light in the room.
Upon entering a building or room, if there are competing sources of light you will have to have a plan to shoot in this situation. To keep with the first example, in a room that is illuminated with fluorescent lighting as well as candlelight, you will have to choose to either turn off the fluorescent lighting, or else blow out the candles. You must do one or the other in order to maintain a correct white balance. To use another example, if you enter a room that is illuminated with tungsten lighting, you should immediately know that you cannot shoot with your bare flash. To properly match this tungsten lighting, all you need to do is put a CTO gel on your flash and change the white balance setting on your camera.
The last tip I can give you is that sunrise nor sunset is considered normal daylight hours. Therefore you cannot shoot with a bare flash as fill light during these times. If you do the light from your flash will appear bluish, and not match with this warm natural light. The solution is to put a CTO gel on your flash to match the sunrise or sunset. Where you are in the world, and what time of year it is will determine which CTO gel to use. I hope that these tips will help you white balance your photos at your next wedding.
Kevin Heslin is one of the leading Wedding and Commercial photographers in Costa Rica. To see more of his photography tips click on his blog Costa Rica Wedding Photographer Or to see destination wedding photos from Costa Rica, or travel and cultural portraits from Central America click on his website Photography in Costa Rica. Also published at Wedding Photography Tips for Beginners – How to Properly White Balance Your Photos Part 2.
July 23, 2011 | Posted by Kevin Heslin
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