Answer: It can turn a green pool blue again!
This is the before image:
Dive in, the water’s fine…well, now it is.
I hate shooting bathrooms. It is one of the most challenging scenarios I face when shooting interiors. Mostly because of the darn mirrors; I have to figure out how to shoot it without catching my reflection.
When I shoot, I try to give the image context by showing a room in relation to its surroundings. The image above, for example, is a master bathroom in a condo. So I always try to show the room it belongs to in the reflection in the mirror. This gives you a sense of space and lets you know that you can access the bathroom from that bedroom. Easier said than done.
The first step is to get an exposure for the room reflected in the mirror. If I shoot to expose for the bathroom, the reflection will be overblown and you won’t see detail in the mirror. You can see from the reflection in the shower door that I am holding a flash “Statue-of-Liberty-like” and bouncing it off the ceiling. I also have a strobe in the room to provide the light in there.
Now I want to expose for the bathroom. There’s one problem, however, and that is white balance. I’ve written about white balance before and how you can use gels to correct for light sources. In this case, the bathroom is lit with incandescent bulbs (warm light) and the light coming from the open door is daylight (cool light). To filter out any blue light, I just close the door. That doesn’t solve my problem, though. The light that comes from flashes is also daylight balanced. So I put a full cut of CTO (color temperature orange) on the flash and set my camera’s white balance to “tungsten” (incandescent for Nikon users). The difference is subtle, but I want to capture what I saw with my eyes and what I saw was the warm glow of the bulbs. But I still have my reflection on the shower door. One more exposure to correct for that:
Then it’s just a matter of masking in Photoshop. I use the first exposure for the room in the mirror and to correct for the overblown lights. I use the third exposure to get rid of my reflection. I then had to do some cloning to remove the reflection of the camera on the shower door. The end result is the image at the top of this post. Three shots for one bathroom. Did I mention how much I hate shooting bathrooms?
I shot the annual Vacation Rental Managers Association (VRMA) conference at the Hilton Bonnet Creek Resort in Orlando last week and it was a white balancing nightmare! Truth be told, I shoot in RAW so I can always change the white balance in post, but I like to get an accurate representation of the image at the time of capture. It’s just a comfort thing, not to mention trying to get as much right in camera to begin with. Take a look at this image: (NOTE: for the images in this post, try not to focus on the content, but rather the color. These examples are pretty much out of camera with little or no editing)
You can see how “orange” or “warm” it looks. That’s pretty much right out of camera. The warmth is due to the tungsten (incandescent for you Nikonians) lights overhead. So I switched from “auto” white balance to “tungsten” and while the result was better, I knew I’d run into trouble if I wanted or needed to use flash.
In the image above I used fill flash with a 1/2 cut of Color Temperature Orange (CTO) gel. Putting an orange gel on your flash essentially turns it into a tungsten light. So if you set your white balance to tungsten (incandescent) then the two light sources will balance. If you look carefully, however, you’ll notice that the waiter’s face still looks a little “cool” or “blue” in comparison to the room. So I added another 1/2 cut of CTO which equals one full cut and that did the trick.
The next day, I turned to using custom white balances for each room and that really made a difference.
Compare the color of the walls in the image above to the very first image in this post. Actually, if you see that white board on the right side of the frame; that’s what I used to get a custom white balance.
I learned about custom white balancing as a news videographer right out of college. Back then, those big cameras didn’t have handy white balance settings and you couldn’t tweak it in post. You either set the kelvin temperature or you took a custom white balance every time you moved from indoors to outside and back.
In case you don’t know, when you take a custom white balance, you’re basically telling the camera what “white” is so it can set all the corresponding colors accordingly. Camera models vary, but to take a custom white balance, take a picture of something white that is getting hit by the light source in the room. If, for example, you have a mix of tungsten and daylight, take something white and put it where it’s getting hit by both sources. You might need to switch to manual focus because your camera may not find focus in something with no contrast. Next, go to your menu function for custom white balance and select the image you want to use. Then, change your white balance to “custom”. Don’t forget to switch back to auto focus.
The classrooms (pictured above) were the worst! They really did have this weird orange color that seemed warmer to me than regular rooms lit by incandescent lamps. Not to mention, I was expecting fluorescent lights at hotel conference rooms. Switching from “auto” to “tungsten” didn’t help at all. So I just shot the white door at every room to get a custom white balance.
Getting the right white balance is crucial if you shoot JPEG because you don’t have as much latitude in post processing to tweak it. It’s less important if you shoot RAW, unless you’re like me and want to see an accurate picture when you shoot it.