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+1 @ Karen
Most folks think about light falloff in terms of exposure, but falloff also includes color of light. This is somewhat akin to painting with a mixture of paint from a gallon of one color and a quart of the other, starting at one end of the room. Then painting the other end of the room with a reversal of color/quantity and trying to get the two to match all the way through ... it's just not gonna happen.
Think Doppler effect of TWO trains moving toward each other vs. one train passing a person standing still ... rather, more as two different colored spherical gradients merging/diverging. The realm of color intensity/hue combinations are a multitude of continuous change, somewhere between 100% vs. 0% to 0% vs 100% of each color and the sliding scale of color combinations they can create.
If you can overpower one of the colors of light, then it can be less problematic in terms of mixed hue, but given the falloff amount over a linear distance, a single illumination source would be very uneven in terms of exposure, so unless you used multiple flash (same temperature) to provide coverage to the room, you're gonna have to contend with sacrificial mixed color lighting. Alternatively, you could gel the flash to match the warmth of the tungsten or change the tungsten to a bulb closer to daylight (i.e. flash temp), or take multiple/stacked exposures via light painting, etc. Single exposure, single flash, multiple colors (tungsten, flash) ... variable color throughout.
Pics such as these ... imo, however are purely informational and I have little/no expectation that a correct color balance would ever be achieved throughout. When I have shot interiors for clients, however I would be using multiple flash placement to maintain color consistency. For these kind of info shots, I wouldn't bother with the trouble to balance both illumination and hue ... i.e. horseshoes & hand grenades @ close enough for government work ... message sent (size/shape of room, etc.), message received (without perfect color balance).
Of course, a mono conversion (employed for those really "problematic" rooms can help mitigate the hue issue too.
Here, I've applied a blue channel mask over a mono layer to neutralize the wall (assuming it to be white) and left just a touch of color at the light (semi-distinct mask for illustration) so it doesn't seem like a B&W quite as much. Through our wonderful layers, masks etc. we can dial it in to taste @ how much color we leave around the light and floor. To make it non-white, we can apply a tint in the mono layer to emulate the paint color / single hue of illumination. Mask work is a little crude, but you get the gist.
Btw, if someone is thinking about a color change, mint green can be previewed, just as easily
More than one way to skin the cat of course, but when it is a Calico ... it gets a little more tricky.
Edited on Aug 12, 2014 at 09:15 AM · View previous versions
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