Tag Archive for: strobes

Colors and how they connect

Colors evoke emotion

You probably have been hearing me say that a lot.
And that’s because color is incredibly important to give images/video/film a certain mood. But also for logos, design, cars, buildings, interiors, clothing, colors are used everywhere to get a feeling, or make you feel a certain way. This article is about how colors connect in photography.

Accurate colors

So for us as content creators, it’s vital to make sure that our designs, photos, videos, etc. all look accurate.

So when someone orders a red scarf and a red sweater they look the same as in the brochure or website.
Luckily this is pretty easy.
You probably heard the term calibration regularly on this blog, my books, and videos.
With calibration, you make sure that your camera, printer, monitor, etc. are showing you the most accurate colors.

Because this is a topic that I’ve explained a few times in other blog posts. But always in connection to a technique. I thought it would be interesting as a reference to just explain a color space and the pure basics of calibrations, in a later blog post this week I’ll go deeper into the process and settings.

Primary versus Secondary colors

First, we have to make sure we know that divide the main colors into 2 sections.
The primary colors are Red, Green, and Blue
The secondary colors Yellow, Cyan, Magenta

Now how does this work in practice?

Color temperature

The first thing we must know about the colorspace and calibrations is the color temperature.
When you look at your strobes, sunlight, shade, continuous lighting, etc. you will probably know they all have different color temperatures. And when we talk about calibrations we call this the blackbody curve and a point on or close to that curve.

But when we look at the curve you can see that it runs from blueish white to reddish white.
The blue part has a very high color temperature, whereas the red has a very low color temperature.
Think for reference about a piece of metal you throw in a fire and you will see that the hotter it gets the more it will shift from red to blue.

We agreed upon the value of D65 for the reference white point. (6500 Kelvin)
When we calibrate our monitor or projector you should calibrate to the value of D65.
In some cases, 5400K is demanded. But if you need this, you don’t need this blogpost explaining colorspacee, probably.

how colors connect in photography

When we look at the color triangle above you can see that the 6500 degrees point is slightly reddish. This means that people sometimes have to get used to calibration at first because white will look a bit reddish, but trust me, this is very short.

Colorspace

Now that we know how the color temperature works, how do we get there?
As you can see in the next image there are different colorspaces with different levels of saturation (larger colorspace = more saturated colors)

colors and how they work together

In this diagram you can see that the primary colors Red, Green, and Blue create the color triangle.
And you probably also notice that the colors are located in different locations.

Luckily for us, those coordinates are known for every colorspace.
Each color has 3 coordinates.
x,y, and Y.
To manipulate these colors we use the settings Hue, Saturation, and Luminance (Y)
You probably know these from Lightroom already.
During the calibration, you are in essence pushing and pulling the colors around till they are in balance with the colorspace you chose. And those corrections are stored in the ICC, DCP profile.

Because for every colorspace we know the coordinates for the primary colors you might wonder, “Where do the secondary colors come in?”
That’s actually simpler than you might think.

How colors connect in photography

This is how colors connect in photography

When we draw a line from the primary color through the white point we end up with the secondary color of that color.
So Red connects to Cyan, Green connects to Magenta, and Blue finally to Yellow.
You probably understand that this is a very fine balance and if one of these colors or the white point is not correct the whole colorspace will shift slightly or even “collapse” meaning you can’t trust your workflow.

Gamma

There is one thing I didn’t mention yet and that’s gamma.
When we look at for example a 10-step grayscale we want to make sure that all steps are visible but also are visible equal in brightness difference. This is done with the so-called gamma correction, in most cases we use a value of 2.2 or 2.4.

Conclusion on how colors connect in photography

The primary colors Red, Green, and Blue connect through the white point with the secondary colors Cyan, Magenta, and Yellow.
Colors have 3 coordinates, x,y, and Y, and are adjusted by Hue, Saturation, and Luminance, corrections needed are stored in the ICC/DCP profile.
Each colorspace has pre-determined values for Gamma, Colors, and white point. This means the only thing you have to do is make sure your images and monitor show the correct colors, which they never do, so they need to be corrected.

Now that we know how complicated it is, it’s time to tell you the calibration itself is super simple.
For the monitor, I highly recommend the calibrite series of products. The process can be done fully automated and takes between 5-15 minutes.

For the camera, I’ve been using the calibrite colorchecker passport for years. It’s easy to create a profile and the results are very good.

In later blogposts, I will focus on these devices separately.
But one I have to mention right away because it’s essential.

The light meter

When we calibrate the monitor we are guided through the software by a very easy-to-follow workflow. The software actually asks you to adjust the contrast/brightness till it hits a target.

Now the reason we do the calibrations is to create a stable workflow that makes it possible to get constant results in all different lighting situations. As you can see one of the coordinates of the colors is the big Y or in other words Luminance.
Seeing the calibration of the camera is done with a ColorChecker we must shoot the ColorChecker with a light meter and as flat as possible.
I mostly place a large softbox on 3 mts distance when I create a global profile, when I create a profile for a specific set I just make sure there are no gels on the strobes and the ColorChecker is still lit as flat as possible with the main light, even if that means the model has to turn and I shoot it from another angle. Otherwise, the calibration will not be accurate.

If you are in the market for a good light meter make sure to check out the Sekonic range. I’ve been using several over the years and they all performed perfectly in every possible situation. I’m now using the 858 but their whole line is top-notch.

I hope you now better understand how colors connect in photography and if you have any questions, feel free to reach out.
If you’re in the market for a new monitor with hardware calibration options, I can recommend the BenQ line up. For EU customers we have some 10% discount codes available just drop me an email.

 

Working with colors and gels is fun 

How to read the Light Meter? 

 

 

Geekoto softboxes compared: results from the Digital Classroom with Jannaika

Geekoto Softboxes

 

In today’s blog the results from the Digital classroom episode with Jannaike in which I explained the differences between Geekoto softboxes.

Remember that these were shot during a live broadcast with loads of ambient light so it’s a bit harder to set the light perfectly.
But I’m very happy with the results.

Geekoto softboxes compared, ditigal classroom with model Janaika Geekoto softboxes compared: Quicky20 Geekoto Softboxes compared, this is whit a striplight (SQ36) Geekoto softboxes compared, result of the Digital Classroom with Janaika

 

If you missed the episode, here it is in full.

the Geekoto Softboxes

Living in the US? and interested in Geekoto? check this Frank Doorhof Geekoto link

Read this post about our first shoot with Janaika 

In the Previous Digital Classroom, we shot Claudia with a Harley Davidson 

Sometimes 15 minutes is enough for a commercial photoshoot. Because our Geekoto flashes have a pistol grip, Annewiek can hold them easily (this is with the S26, if we should do it again, we probably take the even smaller Quicky20)

 

 

The difference between modifiers

Want to know how to predict your light?

And of course how to use the different modifiers to create some images with impact?
Than this is the digital classroom for you.

In almost 2 hours I show you the difference between a lantern, normal softbox, striplights and our new Geekoto Quicky softbox.

You see the setups from 3 different angles, plus all the images I shoot.
And of course there is a boatload with information in there as usual.

So enjoy the brand new Digital Classroom.
With our stunning model Jannaika.

Never the black screen again when using strobes

Black Screen on your camera when using strobes?

Oh, the black screen!

“This camera is unusable for studio use, that’s insane for such an expensive camera…. etc”
Countless of these kinds of bashing cameras can be found online, especially when the EVF in a camera was not as widely used as now. But why is the screen black when you are using strobes?

So what’s going on here?

In the older cameras, we used the sensor only as a replacement for film.
The image was still split into a part where you see the image, focus is done, etc., and a part where it’s hitting the sensor.
With the mirrorless cameras, everything changed.
First of all, we could get super accurate focus (well not at first, it was terrible at times) because you literally focus on the sensor, but we could now also use the viewfinder in a completely new way.

It started with the Sony A99

One day I got a call from Sony if I wanted to test a brand new camera that was “soon” to be released and do the press release in Dubai.
At the moment I wasn’t really into Sony. I was working with Canon cameras and absolutely loved the camera and the people at Canon (I still do :D)

But testing out new gear and getting carte blanche for my review, ……send it in.
Now there is a really funny story about batteries and Sony the Netherlands hanging up several times because they thought I was not serious seeing they didn’t know the camera yet. When it got solved I was literally stunned when looking through the viewfinder… this looks like fricking Topgun 😀
Yeah well, it was a huge improvement over the standard OVF (now I feel old).

The only problem with the A99 was the speed of the EVF. You probably remember the videos of people running through parking garages with their cameras and falling down because the EVF was too slow. In all honesty, when you do stuff like that it’s probably not just the EVF that has a … well ok it was funny 😀

Nowadays EVFs have greatly improved and yes you can now run around with them, although I would not recommend it.

Black Screen when using strobes.

But one problem remains; the black screen when using strobes

When you use the camera in the studio, the image you see through the viewfinder is totally black, and maybe when you press the shutter you can see a little bit of light. So what’s going on here?

The EVF actually does exactly what it’s supposed to do, it emulates the exposure….. ok let’s rewind.
Remember that A99?

Another thing that I found out with the EVF was that taking pictures outside was awesome, even the most difficult situations like backlighting were no problem anymore. Just change the exposure compensation till you see what you like and press the shutter. I called it the WYSIWYG display (What You See Is What You Get).

And this is the problem in the studio.
In a dark studio with the settings 1/125, F11, and ISO100 it should be 100% black in the viewfinder.
And of course, this also happened to me. And remember this was my first EVF. There was no manual and I had no contact person I could reach on the weekend. So, there was one solution, because this couldn’t be how it worked. I went through every single setting in the menu looking for something like LCD or EVF off. I couldn’t find it. Maybe it really was like this… no… ok now let’s try out all the settings. Finally I found a setting with the “not so clear for me” name “setting effect”. Because there was an option ON and OFF, I decided to go from ON to OFF… and like magic, there was my whole studio 😀

Black Screen when using strobes . A funny picture of a model with a camera

So the solution is actually pretty simple

In most cameras with an EVF, you can switch the EVF to roughly two modes.
One is an emulation of what you will get when you press the shutter with those settings.
and the other one is an emulation of what an OVF would show (optical view finder).

This means that in the studio we use the EVF on OFF and outside it’s in most cases best to leave it on ON.

On all cameras, the wording is a bit different but look for settings like “Emulation mode”, “Lighting emulation”, “Setting effect” etc.

To show it on my Sony A7RV I made a small video about the black screen when using strobes and how to solve it.
For this one, we made 2.
The first one is in English the second one is in Dutch.

If you have any questions feel free to ask.
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