Behind the scenes of my competition entry.
 

Well I learned a bit today.
Of my 35mm cameras I have only ever used the F2 or F3 with the studio unit so surprise No.1 was realising that the D100 has no old style flash connection ( I've only had 3 years ). No.2 was when I used the built in unit to trigger the big one. I had taken a flashmeter reading of f22 and the only decent exposure I got was at f5.6 on camera on manual ?????. The SB80-DX worked OK but I was now one light down on what I thought and I could not be bothered to read the manual in case I was doing something wrong. What I wanted was in my head so the fewer distractions the better but I will have to gen up or I may end up looking like a technophobe.

Setting up the model involved rummaging through my vacuum cleaner for a bit of fine background swarf. Normally this vac is only used for metal but there was a lot of sawdust in there from another job. I found a bit of brass swarf ( adds a hint of colour ) that was placed with tweezers. Flash would pick them out quite brightly so it was important not to overdo this.

I tried a few pics using the 28-105 but viewing them on the computer sharpness was an issue ( and I know I would get some stick from wolfie ). I tried moving the flash units back to see if a wider aperture may be sharper, without much luck. Dug out my 80-200 as I know this is a sharp lens. Set myself up only to find the Metz battery had now run flat, so now I was down to 2 flash units. The Metz does not have stand-by and I forgot to switch it off in between test shots.

The setup in the attatched photo's shows the general scheme of things.

The studio flash was used as I needed a big light as there was no ambient daylight and the softbox is 30" x 30". The studio flash head is inside without any relectors fitted and faces away from the subject. The other big advantage is it is mains powered and recyles amazingly quickly.
The SB80-DX was the trigger flash for the big one and is connected to the camera by a lead. This unit was set to manual so balancing the output of the two was a case of moving them nearer or further from the subject. The effect each would have was calculated by assessing each flash unit effect individually before combining them for the final result.

The camera was set to manual and the final exposure was 1/125 @ f14.

The only other important bits of kit were the black card for the background and the polystyrene reflector to bounce light back - primarily from the SB80-DX as without that the big ' Bull gear ' at the back of the model would not have been picked out.

Other considerations were - The positioning of the micrometer. Even though it is dressing and was going to be out of focus, set at a lesser angle to the lathe the ' hard light ' from the SB80-DX which was set to graze the scene would have ' blasted ' any detail. Positioning of parts of the lathe ( handles ) to ensure they would not be lost against the mill bed.

I have attatched a compressed image of the shots because these open in a seperate window you can put up all images at once if you wish.

Don

PS Before clearing up and following wolfies post, I thought I should post pics showing the effect each flash has on the final picture.

This is really good Don, I'm sure this will be of immense value to newcomers to flash photography.

Harry

Comp. Pic. and the effect of each flash unit.
 

Into the workshop to tidy up this morning and thought of wolfies post as I regard him as a master of flash, and thought I ought to post the missing info from my previous post.

The camera angle may be a smidge out as I did not think to do this at the time. The flash units were however in position.

Picture 1 shows the effect of the SB80-DX. As it is direct ( no diffusion ) it has a hard light. Any shadows would therefore be quite harsh. This flash was the main ( key ) light.

Picture 2 shows the effect of the Multiblitz studio flash. Although a far more powerful unit it was used to provide some gentle fill light and provide catch lights on the shiney surfaces.

Note 1. If you are into coin photography ( archeological recording etc ) using a flash as in Picture I where it grazes the surface is great for highlighting delicate details that would be lost using soft overhead light.

Note 2. The sheer size of the light comming from the Multiblitz and the use of 2 side relectors could have been used to swamp the image in a soft light the equivalent of outdoors on a totally overcast day. The final image would show all the detail but would not have the same impact.

Oh no, only got one browser window open so I will have to edit to get the link. That will be to my first picture of the model taken with diffused light only

Don

PS That wont work so I will have to do another post

The miising link mentioned in my last post. http://www.worldphotographyforum.com...to=675&cat=508

Don

Thanks Don. have been copy and pasting while i have my morning cuppa, this is great stuff thanks for your effort warm regards embe

Hi embe

This thread will grow in time as I will post any flash related info here. I remember how tricky a subject it was to get to grips with, so I hope to do a bit of demistyfying and take out some of the fear for those that are just starting out.

I am still learning and I have been into photography for years.

Post any questions you may have and I will do my best to help.

If when you are in the gallery and you look just below a picture, you will in a lot of cases see the exif - that is details of camera, lens, etc. These will show if flash has been used. The fun for me is trying to work out how it was used.

There are images where it has been very subtly used, ' wolfie ' springs immediately to mind - dont know why :rolleyes: Truely inspirational stuff.

Don

After reading this superb thread, I quickly realised I was doing everything wrong :o

I really want to capture my little boy in his development and the purchase of my flash was purely so I could photograph him at night or when the light was bad. I now have a second flash and can be triggered remotely.

Here is the first attempt using two flashes, what do you think?

Oh, forgot to mention.....

Bounce flash used on the master on-camera flash a second slave is placed directly behind James with a kitchen towel diffuser.

Take a look at the EXIF in Nikon Capture for flash and camera settings.

Hi Stephen,

Are you sure you don't want to take over on this thread ??

Truely very very good. :) :) :)

Not a trace of hard shadow to be seen. James is superbly in focus yet not excessivly sharpened and the lighting has that soft cuddly feeling that show children to their best. The diffused light behind James is perfectly balanced as there is no obvious sign that you did that.

Not so with this image but now for ......... Lesson 2. Catch lights in the eyes.

In any picture like this were there is an eye contact, when you view the image that is the first place your eye goes. A lot of proffesional photographers use a studio flash in a large softbox. They will aim to put a catchlight in the eye ( reflection of it ). A large square or round from a brolley is far better than a sharp pin point from an undiffused on camera flash. It does bring the eye to life.

When you first look at an image before working on it go to the eyes and check how the catch light looks.

Yes I know problems, problems. When you think you've got to the top someone puts another hill in the way.

Well you had better put this in your gallery now. :cool:

Don

Don,

Thanks for those good words of encouragement. Sarah and I have spent ages squinting at the screen trying to decide exactly what that reflection actually is...

Providing the screen grab from Nikon Capture helped us all see what the lights looked like in detail. Eventually we decided that the lights were the flash pointed upward with flash output at the top of the pupil (black thing:confused: in eye) and a flash output leak (from the hinge) in the middle of the pupil. The black rectangle is the top adjustable part of the flash head.

I agree the eyes do look quite odd, I could clone or PS something to improve but I prefer to get the image correct first then use PS simply to finish or enhance the photo.

Any homemade tips on how I can improve the catch lights in James's eyes?

In this image the catch light is not distacting. If were to view at high mag you may think otherwise but then any correction would probably make it worse.

As you are now playing with your new toys I mention it as some thing to look for, and be aware of at the time you are taking the pictures.

The greater the quality of an image the more lack of attention to small details will show.

You would be amazed at what the viewers eye can record, and yours not, without you being aware. I have seen some portraits that the photographer took with a ring light as an easy solution to shadow free light. Very high quality printing and super presentation, he was dead chuffed. For all the effort he put in he did not look at the eyes. The ring flash effect was quite disturbing.

Said nothing !!

Don

I just thought I would show the kitchen roll diffuser as used on the photo. As a reference I have attached the photo again.

I took one piece of regular kitchen roll and folded in half, then looped the long side over the flash and taped.

I caught it in output state to show how the light is diffused.

with the addition of a still life gallery and Don's superb tutorial into diffusion I thought I would have a go.

After a few attempts at reducing shadows and flash reflection on the piece I can up with......

How it was done follows......

Setup in the kitchen with fluorescent lighting under cupboards and on the ceiling I put all lights ON. Using three sheets of white A3 paper I setup a makeshift studio in the corner of the worktops. The remote SB-600 flash was fitted with the kitchen roll diffuser as above to the right. A bit of fooling around with bounce flash with the on camera SB-800 led me to blasting as much light at the back of the makeshift studio to wash any shadow. Blasting light at a shiney object only causes serious reflection so...

Using two sheets of kitchen roll placed about 15cm in front of both flashes reduced any shine but kept the illumination. Using my left hand to control the camera and right to hold the kitchen roll sheet was difficult and I really needed an assistant. The secondary diffuser stood up on it edge in front of the SB-600 due to the curvature of the roll.

The photo is in the still life gallery and if you look carefully it is possible to see my arm on the rear rim edge, the other yellow and blue colours on the bottom lip are a rogue tile and the backdoor window (bluey colour as it was taken near dusk)

Hope you enjoy the photo I certainly did taking it.....

Part II follows

Part II

The Motorbike,

The method is exactly the same as above just a bit more experimentation with the correct bounce and flash output - notice the real soft shadows from the exhaust pipes and tyres.

The makeshift kitchen studio can be seen below and also is finished version of the motorbike photograph.

The Photograph can also be seen in the still life gallery.

Very impressive Stephen.

I was doing my post when Norton detected an attack and cut my net connection. Will finish that then come back for a proper look.

Don

Behind the scenes of the Nikkormat shot.
 

Following yesterdays visit to WPF, I woke this morning with thoughts of shiny things. Stephen had mentioned having a go at photographing very shiny things, one of the things that is very difficult to photograph. Reflections everywhere. So for a first effort Stephens picture is very good. Another topic to post here. I am going to have to think about this one and how to do it with limited kit. This will be a case of making a light tent. Probably a circular frame using stiff wire that can support white kitchen roll. Cut a hole for the lens and fire the flash through the tissued sides careful to exclude the wire frame. All reflections apart from the lens will then be of the tissue. With careful positioning we should be able to do a fair job.

However my brain went off on a tangent today, but shiny surfaces were what gave me the idea.

I am unlucky in that I have not got a piece of glass which would provide a sharper reflection, but I have an offcut of perspex that I used for the windows of my lean-to. From my darkroom days I have some 12 x 16 Black/Grey mounting boards. For the purpose here glass and black velvet would have produced far sharper reflections.

Black velvet absorbs the light but black card reflects a lot back. When you look at the reflection in the image you will see 2 distinct reflections. The one from the top surface that I wanted and another off the bottom surface that glass and black velvet would not give. Proffessionals would use gloss black acrylic for a job like this.

This job is totally different from the others I have posted. With them it was a case of making the light as large as possible for makimum diffusion. For this stray reflections would be very obvious and not what was wanted. So black card was used to shield the subject. For the same reason only one light could be used. This could have been done with a portable flash fired through a diffuser. For that I would have needed an assistant, but as I have a studio unit my assistant did a bit of tidying in the garden.

The set up.

Black card with a piece of perspex on top. Perspex is a pain as unlike glass attracts everything. I nearly spent more time in Paint Shop getting rid of it than taking the picture.

Position the camera. For this it needed to be well above to get the reflection.

Decide on how to light it. - In this case as much directly overhead as my workshop layout would allow.

View the subject from the camera angle and use black card to get rid of each reflection you can see. Knowing where your light will come from stops you masking that area.

I used my camera flash to trigger the main light. If you look at the setup picture you will see it is directed away from the subject. It was also on 1/4 power so as not to have any impact on the exposure.

Exposure is a bit of trial and error as you have to set the camera manually. I did some stuff yesterday for the Macro thread so started at f16 and ended up at f22.

A trial set of pictures and then onto the computer. Even a x 2 1/2 magnifier on the review screen does not show enough info. A look at the best image from the test shoot showed that I needed to improve the reflections in the lens to give it more life. Also I noticed the colour cast was a lot cooler than on yesterdays pictures. I have attatched that image for you to compare.

For the final shot I changed the lens to a favoured portrait lens of yesteryear that I used yesterday and has a warmer tone. ( I am not a digital darkroom buff and so it was just easier. ) I also changed the position of the light and introduced the reflector to add reflection to the lens. The reflector was angled upwards so no reflections would appear on the perspex.

The test picture gives an indication of how much light is reflected back by the card.

As this is an advertising sort of picture you could have a go with mobile phone or any sort of gadget. Its all about creating a super glossy ' buy me ' image.

The first of the attached pictures shows the set up, the second the view from the camera, the third is the test shot and lastly the final result.

Don

PS Hurrah ... Kept loosing my connection while trying to post this. :confused:

I thought this attached screenshot may be of interest, especially when photographing white flowers.

This is a 1-1 flower macro of an unknown variety, which bloomed New Years day, each little flower measuring appox 10mm dia. the photo is uncropped.

Lens to subject being approx 100mm.
Equipment
Canon 300D + Canon 100mm f/2.8 macro lens.

Sigma EF-500 DG ST flash attached to camera, with paper kitchen towelling to diffuse flash.

Sigma EF 500 Super + Omni-Bounce (used as slave) hand held at approx 700mm distance @ 10 o'clock whith several sheets of white A4 placed on my worktop as a reflector for the handheld flash.

Black card for backdrop.

Harry

Stephen be very careful with the kitchen towelling, I initially taped the towelling in position and finished up with a nasty burn mark inside the flash head, since then I just drape it over the flash or hold it an inch or so away from the head.


Harry

Wolfie,

Thanks for that, you're right I could feel the heat from the on-camera flash when I did the still life photos when holding a piece of kitchen roll. The kitchen roll diffuser will be modified!

Luckilly I have been using the SB-600 (with kitchen towel diffuser at -1 compensation) and I dont think their is any damage but better to be safe than sorry.

Cheers

Thanks for that Harry as it does show what you can do with care and practice.

Just sat here with a tape measure to visualise the set up. Amongst the huge range of kit around I am not sure if I am right about this ' Omni-Bounce '. Is this a 45 degree job mounted on the flash head. A pic of it may help.

Don

Don, This site will give you a very good idea of the Omni Bounce.

http://azone.clubsnap.org/insectguide/page01.html

Harry

Thanks for that. It was the Omni Bounce bit that confused me, I refer to them as Stofen as this was when it came out their only product, and a killer one at that. I use one all the time. The best addition to your flash you can get, and only £15:95 from Warehouse Express.
Pic from post #4. http://www.worldphotographyforum.com...0&d=1134942009.

That is one terrific link. A must see for anyone having a go at macro with flash.

Thanks

Don

Agree with "Killer" part when I bought mine I had to purchase from the USA along with one of my flash guns, as at that time, they where unavailable in the UK.


Harry

Behind the scenes of the Yashica Mat 124
 

I did this today as the weather forecast suggests going indoors for a few days. It was promted by the Down memory lane thread, and I know Duncan still uses his Rollie TLR.

You have to excuse the set up photo as this had to rely on the pop up flash of my wifes D100. Light outside was non existant.

The lack of outside light meant this had to be an all flash shot. So for the first time in this thread I am using 2 flashguns to provide all the light. As this would have required an assistant I used the studio unit to over come the problem.

The more flash units you use the harder it is to balance the light between them. Despite its phsical size the studio unit provided the secondary light. This was as much to prove that the shot could be done with 2 portable guns as anything else. The ' Test Shot ' was taken to assess the impact of the 2 flashguns. This shows clearly that the smaller unit is the ' key ' light.

I have commented on the ' Test Shot '.

As the flash units were fairly close to the subject a movement of a few inches either way would have an impact on exposure. I find it easier than altering the output power on individual flash units.

I had to do a few exposures to get the best reflection on the lens. As you can see with no daylight and the Lastolite in use I had to settle for a relection from the softbox. The one thing that lets this image down is the reflection shows the Multibliz unit inside. As it was getting dark and I needed to take a pic of the set up I left it at that. Later I will redo the shot to exclude it.

Attached pictures are of the setup. The side reflector is not shown in position in order not to block the view. The test shot and comments, and the end result.

Don

Not a satisfactory day.....

I now have a background for the still life flash photography I am enjoying so much and I have lots of subjects to photograph namely toys and ornaments that my Grandfather made prior to his retirement. These objects have huge sentimental value and I think its very important to photograph correctly to do justice to them and the person who made them.

Todays quest was the bi-plane made as a toy for me when I was three or four years of age. Considering it has survived nearly 30 years it is in good condition.

I am attempting to light the bi-plane as good as possible using a fluorescent strip above and two reading lights diffused through kitchen roll (see wide shot). Using bounce flash on-camera and a diffused slave I seem to have good lighting but a nasty shadow is present from the slave, noticeable on the port wing strut to the fuselage and from the port wheel. Whatever I do I could not reduce the shadow. Apart from this I am really happy with the shot.

Depth of field was tricky as space was tight and the subject therefore was close. Aperture priority was used at f13! to get near good depth requiring lots of flash output. Some light was available from a window so when the light failed I stopped for the day.

I took nearly forty exposures trying different things but none as good as below - Tomorrow I shall resume the quest for the perfect bi-plane shot and will post technique if better than todays effort.

Stephen, the result is pretty good as it is, but for more control how about constructing a makeshift light-tent. Especially if you have a lot of small items to photograph.

Making a decent tent is something I intended to do, but never quite got around it.

So what I do is remove the wooden frame from my wifes dirty linen basket and throw a white sheet over it.

I place both my flash guns (in Slave mode) inside the tent and arrange them so that the light bounces of the white sheet, as an addition I use 2 halogen table lamps.

Example of result attached.

Harry

Harry,

Thanks for the information - excellent pic BTW. I like the white sheet background it looks interesting while not taking attention.

I have the components for a makeshift light tent but need time to construct it. I have 10 x 1m (3ft) indoor plant sticks and 100 x plant ties. I intent to form a frame then line four sides with white bin-liner plastic leaving the floor (graduated background) and camera entry, which will just be white cardboard with a hold cut for the camera lens. I intended to use the light tend for the stainless steel and brass items.

What wattage are the halogen table lamps that you use?

The halogen lamps are 50w, I've never tried white plastic, so will be interested in the result.
I do get the feeling however that the light will be a little harsh. Look forward to seeing the effect.
By using a white linen sheet draped loosely the light is diffused and scattered in all directions.

The ideal materials for creating a frame can be purchased here http://www.screwfix.com/app/sfd/cat/...01311&ts=66376 this being 21.5mm overflow pipe approx cost £36
8 x 90 deg bends, 4 tees and 3 lengths of pipe. Then nick a white bed sheet when the boss is not looking.

Harry

A much better day.....

After doing a few jobs around the house I find time to look at the photographic subject again. I have a fresh open mind for tackling those shadows. I set out the background and placed the bi-plane and noticed a strong shadow from outside, weather was bright and sunny (for one hour!). I decided to use flash to soften this shadow (see wide shot for placement), the exact opposite of yesterdays fun where I realised that without much daylight flash will create shadow unless equipped with reflectors and possibly a light tent.

On-camera flash provided bounce light to generally illuminate the whilst slave flash pointed away toward an angled wall which acted a large reflector.

I am now satisfied with the result :cool:

A full size version can be viewed from the 'still life' gallery - Enjoy!

Stephen, to help with the DoF you might consider focus stacking several shots taken at different focus points. Your subject matter is ideal for this. Do a search for CombineZ, it's a free app that will merge the images for you and does a great job.

It's an excellent piece of software, produces stunning results.
Full name is combine z5

http://www.hadleyweb.pwp.blueyonder..../combinez5.htm

Harry

A busy weekend entertaining and its all been hapening here !!

Stephen, having read the posts and looked at the pictures the key difference is that in the second shoot you have increased the apparent size of the light source. When Harry mentions light tents and light scattered in all directions, the effect is to make the light source bigger than the subject.

Using the wall to bounce the light back has the same effect of enlarging the light from your flash. I have just done a quick graphic so others may understand this.

You have also managed in the second shoot to even out the reflections on the top wing and eliminate bright reflections that were apparent in shoot 1 pic. ( I believe these are called specular highlights ). So a very good effort.

Reading your plans for a light tent I have to agree with Harry in choice of material. PVC will I think create specular highlights as well as appearing a bit hard as a result.

Thanks for sharing with a behind the scenes as we can all learn something from them.

Harry, another superb picture. Setting us all a challenge !!!

Don

Behind the scenes of The Silver Dhow
 

I thought I would tackle a subject that would be a nightmare of reflections. This sort of subject would normally be considered ripe for a light tent to be used. Allways up for a challenge I thought I would photograph it on a bench, and would try adding the reflections.

This would have been easier in a light tent with the black reflections comming from small cut outs of craft card supported on wire stems. The same principle was used here to show it can be done without a light tent.

The reason for adding reflections to the sail is that it gives it some form. It is bowed and not flat.

In the set up pictures all the white surfaces are being used to provide the light reflections on the sail and not as light reflectors.
Although a flash is fired through the large Lastolite reflector, this is to project a diffused shadow of the tripod on the front part of the sail. Bolder blacks appearing from the mid point towards the back of the sail are reflections from black objects, flash stand,tripod legs and black card.

The first image is a straight shot to show the scale of the problem.
The two behind the scenes images show the relative positions.
The Reflection diagram shows where each reflection came from.

Altogether an interesting exercise. Next I will have to follow Harrys tip for making a light tent.

Don

Interesting, all the time I thought reflections were bad but adding or controlling reflection is just another dimension to flash photography.

I shall have to revisit some of my shiny still life pieces with a view of enhancing refections.

Thought provoking stuff! :eek:

Behind the scenes of the Nikomat FTN shot
 

As there was a bit more natuaral light today I thought I would try this one. The camera is black and the leatherette quite shiny, and adding photo's as a background would present quite a lot of difficulties if flash alone was used. As I am trying to keep things within the scope of anyone with 2 flash guns a bit of natural light was needed.

A light reading was taken and the flash set up to balance that. The SB80-DX was side on to just light the lens recess on 1/4 power. The Metz on the floor was used to bounce light off the reflector and give light to the top of the camera. The idea was to also slightly overexpose the background prints to avoid them taking over the image. The subject was the camera after all. The instruction book in colour also helps to focus attention.

The background images were from my first darkroom.

As can be seen the set up is not a complicated one. I had to brighten up the behind the scenes image as it was not as bright as it appears. Camera settings : ISO200 1/8 sec at f16.

Don

Behind the scenes of the F3 shoot.
 

With a bit of sun about I decided to take a picture of the Nikon F3. The background was to ring the changes from others I have used. The 1.4 lens that I have used on other pictures was used, as it has a large set of elements, and I could get a decent reflection to counteract the black of the camera.

The key light for this was daylight and the flash units were used to add a reflection on the lens and the front left side of the camera. To make the flash light source appear as large as possible 2 flashguns were fired through a Lastolite reflector.

Exposure was manual so a light reading was taken in manual mode 1/8 sec at f16. The flashguns were turned to 1/4 power and moved relative to the subject to get the light balance right.

If you look at the picture you will see mention of ' black flags '. To bounce light back into the subject I placed 2 reflectors to the left and overhead. To limit the reflections pieces of black card were used to mask the reflectors. As the camera bag is quite a light colour it would have been slightly overexposed without this. If you look at the F3 @ 2 PM picture you can see how the side of the bag disappears into shadow.

Two pictures are here to show the change in colour temperature of the light. White balance was left on auto for both pictures. The first picture F3 @ 2 PM was taken at 2 PM. I decided to leave the set up and returned just before 3 PM when I took the second picture F3 @ 3PM. Removing the lens cap to get rid of a long shadow, and slight repositioning to get the light filling in the base of the motor drive.

Don

Behind the scenes of the Winter Aconite shoot.
 

Inspired by Jon Sharp's thread ' Mini Challenge - "In my garden". '

Not much happening out there at all but I did manage to find a few Winter Aconites poking their heads through the leave litter. Most were inaccessible but I found one that was. The light today was very poor, totally overcast skies. An incident light meter reading suggesting 1/8 sec @ f16 for ISO200.

I have attatched a picture of the subject in an as found condition and is a straight exposure. With such dull conditions a touch of flash was going to be required to lift the scene. A small amount of gardening was done as is indicated in the final picture. Three lighter coloured leaves were introduced. The foreground leaf was turned 180 degrees, and the other darker leaf just lifted a tad.

The lens used was an AIS Nikkor 55 Micro so focussing was manual as was exposure. Flash was used to add a bit of colour to the leaves. The effect can be seen in those leaves I did not affect with my bit of gardening. This required the flash to have maximum diffusion so that its effect would be subtle. Flash exposure was judged by using the variable output control and ended up at full power where I had initially placed it. The time of the final exposure was moved from 1/8 sec to 1/6 sec to give a plus 1/3rd of a stop over the initial image.

Don.

Superb photography as ever Don,

I dont understand how flash has warmed the colour of the final image. Flash light has a cold 4000K (ish) colour temperature so why have the warm colours come out so well?

Colour Temperature
 

I did not quite expect this as a lot of members including yourself shoot RAW and correct the effects in RAW so failed to explain properly.

I am trying to think in film technology terms. If I move up to D200 or D2X I don't want to add a new PC to the bill immediately, ( currently on 128mb RAM :eek: ). So I am now doing everything in JPEG as practice - back to the roots !!

Colour temperature works in reverse of what you may expect - low numbers = warm, and high numbers = cool. Daylight film is balanced for 5500k. So a scene that has a higher colour temperature ( eg overcast daylight ) will be cold, and that with a lower colour temperature ( eg domestic light bulb ) will be warmer.

I think digital sensors must be calibrated around 5500k - 6000k, as my results with electronic flash which is around 5000k do give a slight warming. A similar warming effect could have been achieved with an 81A filter. In this case it was very overcast so flash was really needed.

When I did the Nikkormat I had been doing quite a bit of RAW and failed to notice that I had an 81A filter on the 105mm lens. Realised this soon after posting my behind the scenes. Did not go back and comment for fear of confusing things, but now the subject has come up ......

I will look on the net and see if there is something worth posting a link to.

I will attatch the two images here appropriately titled. Quite a difference.

Don