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EXISTING TUNGSTEN LIGHT
Tungsten lamps are still the standard type of lighting in most domestic inter- iors , even though fluorescent strip lights are steadily replacing them in larger public areas and offices . Many restaurants also keep tungsten in preference to fluorescent because of the warmer , more friendly atmosphere it creates . The colour temperature depends very much on the wattage of the lamps , and this is usually less than 2900K . So , even on Type B film , domestic tungsten lighting appears yellowish or orange .
To compensate for this warm cast , you would need a bluish filter in Kodak's 80 series when using Type B film . Either an 80C or 80D filter will give a reasonably neutral result , but with daylight - balanced film you would have to add an 80B on top of this . However , this kind of precision is not necessary ; psychologically , a warm cast to a room is seen by most people to be quite attractive . If you are shooting colour negative film , a considerable degree of correction is possible at the printing stage anyway .
What is usually more of a problem is the way that tungsten lamps tend to be positioned and used in interiors . More often than not , they are exposed to view rather than concealed ( as most strip lights are used ) . This makes for high contrast , with pools of light , and there is often no way to avoid a bright lamp appearing in shot . The best answer is to choose a viewpoint and composition that either hides a lamp from direct view behind some other object ( such as a pillar or piece of furniture ) or keeps it small in the frame .
Light levels from domestic tungsten lamps are low , and call for either a slow- to - medium film on a tripod , or a fast film if you want to shoot at speeds that will freeze normal movement and allow you to hold the camera by hand . For example , an average home interior with ISO 64 film would need a setting in the region of 1 / 4sec at f / 2.8 ; with ISO 320 film this could be 1 / 30sec at f / 2 - just acceptable for a handheld shot . Remember that , if you are using a fast daylight- balanced film , adding a blue filter such as an 80B will cost some exposure - about 1/3 stops . To increase the possible shutter speed , uprate the film ; ISO 160 Ektachrome , for example , can be used at ISO 320 if you push - process it by an extra stop .
RIGHT Tungsten lighting is still the standard illumination for many interiors , and is invariably exposed to view rather than hidden . In this case , the presence of the candelabras has been exploited as a positive advantage .
BELOW The orange cast resulting from the use of daylight film to record tungsten - lit scenes need not always be unpleasant . As in this example , that orange hue can be used to add warmth to a candid shot .
ABOVE Light levels from domestic tungsten lamps tend to be low , so it is advisable to use a faster film if camera shake is to be avoided .
EXISTING TUNGSTEN LIGHT
Tungsten lamps are still the standard type of lighting in most domestic inter- iors , even though fluorescent strip lights are steadily replacing them in larger public areas and offices . Many restaurants also keep tungsten in preference to fluorescent because of the warmer , more friendly atmosphere it creates . The colour temperature depends very much on the wattage of the lamps , and this is usually less than 2900K . So , even on Type B film , domestic tungsten lighting appears yellowish or orange .
To compensate for this warm cast , you would need a bluish filter in Kodak's 80 series when using Type B film . Either an 80C or 80D filter will give a reasonably neutral result , but with daylight - balanced film you would have to add an 80B on top of this . However , this kind of precision is not necessary ; psychologically , a warm cast to a room is seen by most people to be quite attractive . If you are shooting colour negative film , a considerable degree of correction is possible at the printing stage anyway .
What is usually more of a problem is the way that tungsten lamps tend to be positioned and used in interiors . More often than not , they are exposed to view rather than concealed ( as most strip lights are used ) . This makes for high contrast , with pools of light , and there is often no way to avoid a bright lamp appearing in shot . The best answer is to choose a viewpoint and composition that either hides a lamp from direct view behind some other object ( such as a pillar or piece of furniture ) or keeps it small in the frame .
Light levels from domestic tungsten lamps are low , and call for either a slow- to - medium film on a tripod , or a fast film if you want to shoot at speeds that will freeze normal movement and allow you to hold the camera by hand . For example , an average home interior with ISO 64 film would need a setting in the region of 1 / 4sec at f / 2.8 ; with ISO 320 film this could be 1 / 30sec at f / 2 - just acceptable for a handheld shot . Remember that , if you are using a fast daylight- balanced film , adding a blue filter such as an 80B will cost some exposure - about 1/3 stops . To increase the possible shutter speed , uprate the film ; ISO 160 Ektachrome , for example , can be used at ISO 320 if you push - process it by an extra stop .
RIGHT Tungsten lighting is still the standard illumination for many interiors , and is invariably exposed to view rather than hidden . In this case , the presence of the candelabras has been exploited as a positive advantage .
BELOW The orange cast resulting from the use of daylight film to record tungsten - lit scenes need not always be unpleasant . As in this example , that orange hue can be used to add warmth to a candid shot .
ABOVE Light levels from domestic tungsten lamps tend to be low , so it is advisable to use a faster film if camera shake is to be avoided .
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