This post is going to be one huge geekfest. Not only is it going to cover science fiction, but it’s going to cover technical components of photograph and lighting. If both of those topics, especially together, make you yawn – you may want to skip on over this
Several months ago, I was approached by Melissa
to see if I could shoot the Browncoat Ball of 2011 – Browncoats being fans, followers and slightly obsessed individuals who love the Joss Whedon show, Firefly and it’s movie, Serenity. Being slightly geeky myself (only slightly), I jumped at the chance to shoot the shindig ball on the Saturday.
Whats a shindig?
Think, big formal ball, classical music, dancing, gowns – and being a fan convention, costumes. Hell yes, I was in.
I’ve shot at the venue before – the Rotunda ballroom at the lush Crowne Plaza hotel in Rhode Island. The room is big, round, and above all, brown. Really brown. Brown carpets, brown walls – and from a photography perspective, even the lights are brown (well, orange) – tungsten bulbs give off a pretty gross orange glow – and this room is lit with nothing else.
So, what does a photographer who is relying on a daylight balanced flash do? Break out the gels – in this case, a full CTO gel – which takes my flash, and turns the light it puts out from a blue daylight color, to a close or similar orange – hopefully matching the tungsten bulbs in heavy use in the Rotunda. Of course, I also tell my camera to use Tungsten white balance – which helps – but still doesn’t do the job entirely.
So, what next? The photos from the event are great – I’m really happy with them – as you can see, they look great
But, when someone wants a print – I don’t want to run the risk of their skin tones coming out oddly – every single print order I make will be hand edited first – the resulting file sent to the printers – this is the difference
Enjoy the full slideshow: