Getting great color for interiors?

Questions, comments and suggestions regarding Phase One P+ series and P series digital camera backs.

Getting great color for interiors?

Postby Jeffrey111 » Fri May 06, 2005 4:02 am

What are people using to get accurate color for interiors? Simple gray cards are too small or need to be placed in too many areas of the large subject to work well. I've been using the Expodisc with some very good results but it's often too cool. Works great for lens cast callibrations. I'm considering the warm version. I find that the P25 is very sensitive to mixed lighting. I see color casts from varying sources almost similar to transparency film. Any techniques for dealing with this?

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Postby Ashley11 » Fri May 06, 2005 8:07 pm

Hi Jeffrey
I just use the grey card or eye ball it later. Sometimes neutral or white is a bit cold – all depends on the interior and the look you want.
The P25 handles colour similar to transparency film. The big difference is you don’t need to get it spot-on at the time of shooting – you can play around later with the colours, in the peace and quite of your only studio. No rights or wrongs when it comes to colour, just opinions and tastes.

When shooting interiors of homes for the UK magazines we try not to turn interior lights on to avoid colour casts.
A home that we shot originally for House Beautiful, February 2005 issue -they insist that it was shot on transparency film:
This same feature has appeared this month in House & Home. They used the digital file which were taken at the same time with my Polaroid back, the P25.
Last edited by Ashley11 on Fri May 06, 2005 8:09 pm, edited 1 time in total.
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Postby damienlovegrove » Fri May 06, 2005 8:09 pm

Hi Jeffrey,
The system I use is to increase saturation of the test or first image by 20% to make the colour cast more exagerated. I then adjust the colour settings before returning the saturation to normal. I then use this setting as the default for future captures. Mixed lighting is dealt by me in Photoshop by selecting the individual areas that require adjustment and treating them seperately.

This may be of some use.
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Postby Lucas12 » Sun May 15, 2005 8:03 am

Hi Jeffery,
The P25 is definitely very sensitive to colour temps. I shoot a lot of mixed lighting interiors and use a Gretag Macbeth colour card and put it in my choice of dominant colour temp and use the third or second lightest grey square to WB from. The pure white often gives you a slightly too cold WB.
In Australia, however, we tend to use more daylight, turn off most of the tungsten lights and blow out the windows, so it may be easier for us. I have greater control now, instead of having to use a stack of CC filters!
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Postby Dillon » Tue Jun 07, 2005 8:08 pm

I shoot tethered for interiors and try to get the color locked in my brains memory, and close in color on the laptop.

My interpretation of the color always changes a day or two later when working on the file in C1 and Photoshop. The only bad color is the green from some fluorescents. The warm cast of tungsten is quite acceptable (and overdone) in Mid West US.

Interior designers are realizing the value of daylight fixtures and daylight through windows. More interior spaces are very well lit. Hospitals claim it heals people faster. My point is, the wacky colors we see today is nothing compared to 10 or 20 years ago. It gets better all the time.
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