The following is a direct copy and has been Pasted in for future reference from the Art of Photography coursework PDF Doc. (pasted in Maroon)
First part 3 images / Second part 4 – 6 images
First, find a room lit fairly brightly by tungsten lamps. If there are fluorescent lights, turn them off. Wait until just after sunset, when there is only a little daylight left. With the curtains open, stand close to the window and look out for about one minute, until your eyes become adjusted. Then turn and look at the room light. What colour does it seem to be in the first instant that you see it? As you adjust your eyes for a couple of minutes to the room lighting it will seem less coloured. Quickly, look out of the window once more. What colour does the daylight seem to be? It is important to do this little test when the daylight is weaker than the room lights. There is a considerable difference in colour between tungsten and daylight when you compare them directly like this. Your eyes’ great ability to adapt makes the difference seem less but the camera does not adapt in the same way and the true differences are faithfully preserved.
Before doing a shooting test measure the light level in the room with your camera’s meter. Take several readings, in different parts of the room, including close to a reading lamp, and in the darkest corner. If you have the sensitivity set to ISO 100, or close to it, the shutter speeds that you would need are very slow. At full aperture, what shutter speed could you measure? Would this be enough for hand-held shooting? Not only is tungsten lighting much weaker than daylight but, in most rooms, it is very uneven. Again, your eyes may fool you because they can adjust rapidly between the lightest and darkest parts of the room. Not so the meter, and not so the camera’s sensor.
Compose a photograph in which both the interior lit by tungsten lamps and the exterior at dusk are both visible. Wait until the light levels inside and outside are approximately equal, and take three photographs, as follows: with the white balance set to Auto, with the balance set to daylight, and with the balance set to tungsten. Compare the results. What differences do you note?
For the second part of the project find two different interiors lit by fluorescent lamps. If at all possible, make one of these an interior lit by the small CFL lamps, which to many people at first glance look like domestic tungsten lamps. Take two or three photographs, identically composed, in each location. The first image should be with the white balance set to Auto, the second to fluorescent, and if there is a choice of different fluorescent settings, the third to the alternative fluorescent. Compare the results, and note the differences. One thing you should notice is that the overall colour quality in all of them looks in some way unsatisfactory. Fluorescent lamps do not emit a full colour spectrum.
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Equipment
Nikon D4
24/70 – f2.8 lens
14/24 – f2.8 lens
Camera Tripod
Camera Monopod
Lightmeter (Sekonic D758)
Method & Approach
For Part one this exercise I broke the initial part down into two questions and I have listed my findings below. For Part two and the remainder of this exercise I have carried out each task supplemented with pictures and comments.
Please see pictures and captions below.
Note – all pictures have been compressed hence there might be a quality reduction when enlarging.
Part One
- First, find a room lit fairly brightly by tungsten lamps. If there are fluorescent lights, turn them off. Wait until just after sunset, when there is only a little daylight left. With the curtains open, stand close to the window and look out for about one minute, until your eyes become adjusted. Then turn and look at the room light. What colour does it seem to be in the first instant that you see it? As you adjust your eyes for a couple of minutes to the room lighting it will seem less coloured.
- Quickly, look out of the window once more. What colour does the daylight seem to be?
Answers to Questions
- Looking out of my kitchen window for approximately one minute and turning around after my eyes had adjusted produced a yellowish tint.
- Upon turning around and looking back out the kitchen window, the colour effect was blue and colder.
Lightmeter Readings
Before doing a shooting test measure the light level in the room with your camera’s meter. Take several readings, in different parts of the room, including close to a reading lamp, and in the darkest corner. If you have the sensitivity set to ISO 100, or close to it, the shutter speeds that you would need are very slow. At full aperture, what shutter speed could you measure? Would this be enough for hand-held shooting?
Picture 1
Picture 2
Picture 3
Picture 4
Pictures 1 / 2 / 3 / 4 – Lightmeter Readings
Picture 1
Speed 1/3 sec
Aperture f2.8 (maximum)
ISO 100
Comments – Lightmeter reading taken from room corner at ISO 100 and an aperture setting of f2.8. Holding the camera by hand would introduce camera shake and therefore these settings are not suitable for a clear and sharp picture.
Picture 2
Speed 1/2 sec
Aperture f2.8 (maximum)
ISO 100
Comments – Lightmeter reading taken from room corner at ISO 100 and an aperture setting of f2.8. Holding the camera by hand would introduce camera shake and therefore these settings are not suitable for a clear and sharp picture.
Picture 3
Speed 1.5 sec
Aperture f2.8 (maximum)
ISO 100
Comments – Lightmeter reading taken from room corner at ISO 100 and an aperture setting of f2.8. Holding the camera by hand would introduce camera shake and therefore these settings are not suitable for a clear and sharp picture.
Picture 4
Speed 1/8th sec
Aperture f2.8 (maximum)
ISO 100
Comments – Lightmeter reading taken from the centre of the room approximately 300mm below the tungsten light source at ISO 100 and an aperture setting of f2.8. If in the event a picture should be taken with these settings holding the camera by hand, camera shake would become an issue and therefore these settings are not suitable for a clear and sharp picture.
Photograph Composure
Compose a photograph in which both the interior lit by tungsten lamps and the exterior at dusk are both visible. Wait until the light levels inside and outside are approximately equal, and take three photographs, as follows: with the white balance set to Auto, with the balance set to daylight, and with the balance set to tungsten.
Picture 5
Picture 5 (White Balance – Auto)
Camera Details
Camera Nikon D4 (camera positioned on a monopod)
Speed 1/45th sec
Aperture f2.8
ISO 800
White Balance Setting White Balance – Auto
Lens 24/70 mm
Focal Length 24 mm
Comments – This picture was taken with light conditions inside and outside the house approximately the same. The camera set on a relatively slow speed and aperture of f2.8 with the camera mounted on a monopod.
Picture 6
Picture 6 (White Balance – Daylight)
Camera Details
Camera Nikon D4 (camera positioned on a monopod)
Speed 1/45th sec
Aperture f2.8
ISO 800
White Balance Setting White Balance – Daylight
Lens 24/70 mm
Focal Length 24 mm
Comments – This picture was taken with light conditions inside and outside the house approximately the same. The camera set on a relatively slow speed and aperture of f2.8 with the camera mounted on a monopod.
Picture 7
Picture 7 (White Balance – Tungsten)
Camera Details
Camera Nikon D4 (camera positioned on a monopod)
Speed 1/45th sec
Aperture f2.8
ISO 800
White Balance Setting White Balance – Tungsten
Lens 24/70 mm
Focal Length 24 mm
Comments – This picture was taken with light conditions inside and outside the house approximately the same. The camera set on a relatively slow speed and aperture of f2.8 with the camera mounted on a monopod.
Part Two
For the second part of the project find two different interiors lit by fluorescent lamps. If at all possible, make one of these an interior lit by the small CFL lamps, which to many people at first glance look like domestic tungsten lamps. Take two or three photographs, identically composed, in each location. The first image should be with the white balance set to Auto, the second to fluorescent, and if there is a choice of different fluorescent settings, the third to the alternative fluorescent. Compare the results, and note the differences. One thing you should notice is that the overall colour quality in all of them looks in some way unsatisfactory. Fluorescent lamps do not emit a full colour spectrum.
CFL Lighting
Picture 8
Picture 8 (White Balance – Auto)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 4.0 Seconds
Aperture f8
ISO 100
White Balance Setting White Balance – Auto
Lens 14/24 mm
Focal Length 14 mm
Comments – Continuing with a low ISO of 100 (as in the above part of the exercise), this picture was taken with the camera mounted on a tripod at a very slow speed of four seconds and an aperture of f8. With the cameras White Balance set to Auto, the true colour of the room has not been captured. The true colour of this room is a light lilac colour.
Picture 9
Picture 9 (White Balance – Cool White Fluorescent)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 4.0 Seconds
Aperture f8
ISO 100
White Balance Setting White Balance – Cool White Fluorescent
Lens 14/24 mm
Focal Length 14 mm
Comments – Continuing with a low ISO of 100 (as in the above part of the exercise), this picture was taken with the camera mounted on a tripod at a very slow speed of four seconds and an aperture of f8. With the cameras White Balance set to Cool White Fluorescent, the true colour of the room has not been captured. The true colour of this room is a light lilac colour.
Picture 10
Picture 10 (White Balance – Day White Fluorescent)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 4.0 Seconds
Aperture f8
ISO 100
White Balance Setting White Balance – Day White Fluorescent
Lens 14/24 mm
Focal Length 14 mm
Comments – Continuing with a low ISO of 100 (as in the above part of the exercise), this picture was taken with the camera mounted on a tripod at a very slow speed of four seconds and an aperture of f8. With the cameras White Balance set to Day White Fluorescent, the true colour of the room has not been captured. The true colour of this room is a light lilac colour.
Picture 11
Picture 11 (White Balance – White Fluorescent)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 4.0 Seconds
Aperture f8
ISO 100
White Balance Setting White Balance – White Fluorescent
Lens 14/24 mm
Focal Length 14 mm
Comments – Continuing with an ISO setting of 100 (as in the above part of the exercise), this picture was taken with the camera mounted on a tripod at a very slow speed of four seconds and an aperture of f8. With the cameras White Balance set to White Fluorescent, the true colour of the room has not been captured. The true colour of this room is a light lilac colour and in relevance of all four pictures this last picture resembles the closest in colour.
Fluorescent Lighting
Picture 12
Picture 12 (White Balance – Auto)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/2 second
Aperture f8
ISO 100
White Balance Setting White Balance – Auto
Lens 14/24 mm
Focal Length 14 mm
Comments – Again keeping with ISO 100 (as with the rest of the exercise), this picture was taken with the camera mounted on a low level tripod at a speed of half a second and an aperture of f8. With the cameras White Balance set to Auto, the true colour of the attic room has not been captured, here it looks too cold.
Picture 13
Picture 13 (White Balance – Cool White Fluorescent)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/2 second
Aperture f8
ISO 100
White Balance Setting White Balance – Cool White Fluorescent
Lens 14/24 mm
Focal Length 14 mm
Comments – Again keeping with ISO 100 (as with the rest of the exercise), this picture was taken with the camera mounted on a low level tripod at a speed of half a second and an aperture of f8. With the cameras White Balance set to Cool White Fluorescent, the true colour of the attic room has not been captured, here it looks reddish.
Picture 14
Picture 14 (White Balance – Day White Fluorescent)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/2 second
Aperture f8
ISO 100
White Balance Setting White Balance – Day White Fluorescent
Lens 14/24 mm
Focal Length 14 mm
Comments – Again keeping with ISO 100 (as with the rest of the exercise), this picture was taken with the camera mounted on a low level tripod at a speed of half a second and an aperture of f8. With the cameras White Balance set to Day White Fluorescent, the true colour of the attic room has not been captured, here it looks a yellow colour.
Picture 15
Picture 15 (White Balance – White Fluorescent)
Camera Details
Camera Nikon D4 (camera positioned on a tripod)
Speed 1/2 second
Aperture f8
ISO 100
White Balance Setting White Balance – White Fluorescent
Lens 14/24 mm
Focal Length 14 mm
Comments – Again keeping with ISO 100 (as with the rest of the exercise), this picture was taken with the camera mounted on a low level tripod at a speed of half a second and an aperture of f8. With the cameras White Balance set to White Fluorescent, the true colour of the attic room has not been captured, it is very slightly red and a little too warm although this is possibly the closest resemblance.
What have I learnt from this exercise
I have learnt from this exercise that correct White Balance is critical in order to obtaining as near as possible the true colour spectrum at the point of capture, this is especially true when photographing inside artificially lit environments. I also found the coursework very intuitive in the way it broke down the various type of lighting inside the house and also outside, explaining the types of lighting such as Sodium with their yellow characteristics and when photographed they appear yellow or yellow-green and also that they cannot be corrected.
Thoughts and Reflection
Some of the White Balance presets are very good on today’s cameras and produce fairly accurate results (probably more pleasing than totally accurate) and in relevance of initial camera start up white Balance is one of my first priorities that I check near on every time. Shooting in RAW does allow for some error correction later on at the time of processing.
stingray493 