Using gels is often a problem when working with strobes. Getting them to fit around the bulb can be a pain, and trying to cover the front surface of a giant softbox is just impractical (and expensive!). Well, the folks at FlashGels have solved this issue for the Godox AD600Pro and AD400Pro with pre-cut gel kits that slip right over the bulb.
A few days ago I submitted a photo to the new DIYPhotography facebook group, I am very happy to share how it was taken. Feel free to join our community and submit your best shots.
Lately, I have been playing with color gels quite a bit. While this is something I enjoy, I felt I was falling into a repetitive pattern. I started looking for a way to grow above the technique and use colors to tell a story.
Like many good things, my chance arrived part via collaborating and part via accident. My partner in crime was Yael.di . She is an amazing cosplayer. She is also a kick-ass hula hoop dancer, but I digress. One of her customs caught my attention. It is a one-of-a-kind full-body mirror outfit (check it out here). I thought that this outfit, combined with smoke and colors would tell a good mystery story. Smoke and mirrors, you know. Here is how we did it, or actually did not.
The name of this installment is meant to be a joke, but anyone who follows the blog knows that I’m is a little bit color-obsessed. This image is a play on the highly popular orange and teal color scheme, using the complementary contrast between orange and cyan
There is one genre of photography that is black and white. There is another genre that is exactly the opposite and it is full of color. Today’s breakdown belongs to the second genre.
If you’re like me and you’ve tried to attach gels to your lights in the past, you’ve likely resorted to using one of the many types of sticky tapes available. When I used to manage a studio, I would see all manner of tapes being used to attach gels to hot modifiers. From masking tape, duct tape, parcel tape and when they ran out, even regular old sticky tape was used. But ultimately, all of these tapes fell short in achieving their simple task of holding a coloured gel in front of a light.
For those of us that have dealt with colour in any way digitally in the last decade, we are unfortunately all too familiar with the dreaded colour banding issues. If you’re not sure what colour banding is, then it’s the visual ‘stepping’ of colour that happens in digital files.
It happens a lot and it can happen for any number of reasons. The most common scapegoats for colour banding are usually poor colour depth in our cameras, aggressive compression algorithms with online sites and any number of other technical failings. Although all of these are often part of the problem, I see one other major culprit of severe colour banding and that’s lighting.
Last year, lighting gel company, Rosco acquired LED lighting specialists DMG Lumière. Although only founded in 2014, DMG Lumière was quickly recognised for its innovative products for film, television and broadcast. We all knew at the time that this would be an interesting mix of companies and talent that would probably go on to produce something quite special. Now, it seems, they have.
The Rosco MIX, is a new colour changing LED panel based on DMG Lumière’s previous form factors. What makes these special though, is that unlike traditional bicolour, RGB or RGBW LED panels, these contain six differently coloured LEDs to produce a wide array of colours. Famous for their high-quality lighting gels, Rosco’s new light won’t even need them.
Good news! This is actually a relatively easy JHP lighting setup to play with and it produces some pretty great looking results too. It’s easy to set up as you only need a couple of softboxes and this can be put together and shot in a very small space indeed; no studio required. Plus it produces some great looking results because it uses coloured light. Now I know I may sound biased on that but hear me out as we go through the setup and it should start to make more sense as to why this looks extra cool with coloured gels compared to without.
This is another one of those questions I get asked a lot: ‘Should I be using a white or grey background with coloured gels?’ As with so many things in photography, the answer isn’t always as simple as you might think.
In this article I show you a recent lighting test where I fired a collection of coloured gels onto a white background and then repeated the same test on a grey background to see the difference. The images below speak for themselves but I’ll also explain some of my personal reasons for using one over another and I’ll also discuss the pros and cons for each.