How to get rid of orange and green backgrounds with flash

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Nikon D4, ISO 3200, f/6.3, 1/80, 28-300mm, White Balance: Flash

Have you been getting photos like this with your off-camera flash? You have a mixed lighting situation. The background is tungsten, or 3200º Kelvin, and the subject has flash, or 5500º Kelvin.

With Lightroom 12.2.1 Release and later, you can use a mask to select the background. The AI in Lightroom does a pretty good job, and then you can color-correct your images this way. However, if you do this on camera, as shown here, it is even faster than having to select pictures and correct backgrounds. While you can do multiple photos in Lightroom, you still have to take the time to check each one to see if the mask worked. This takes too much time compared to using colored gels to change your flash to match the ambient color temperature.

Nikon D4, ISO 3200, f/6.3, 1/80, 28-300mm, White Balance: Tungsten

Now, by doing everything is pretty much the same except for two things that are changed: the flash has an orange gel on it to match the tungsten, and then the white balance for the scene is set to tungsten.

I prefer to put on the orange gel over the flash and then use my ExpoDisc to get a custom white balance. I point the lens to the flash with the ExpoDisc in front to help me get an accurate skin tone for the subject.

Nikon SB-900 with the gel kit, the flash, and the two covers. One at the bottom holds the gels, and the other cover is a diffusion filter. You can use the gels with the diffusion filter as well. There are two green and two orange filters. You can test these, and depending on the lights in the room, one may work better than the other.
The gel slides into the plastic cover, and the hole lines up with a raised piece. When you do, the little white squares will automatically adjust your camera to the correct white balance when on the camera hotshoe.
Here you can see the cover snapped back on the SB-900 with the other gels off to the side in the carrying case.

I prefer not to see the orange and green backgrounds in my photos when using flash. However, if you use the gels I am showing you here, you will fly through the post-production. Many people try to remove the color shift in the background with post-production, but converting the flash to the correct gel combination is far faster than just color-correcting one image.

Imagine shooting a wedding or an event, where you may have hundreds, if not thousands, of images to color correct if you do not use gels.

Nikon D4, ISO 3200, f/6.3, 1/80, 28-300mm, White Balance: Flash 

This is with regular flash under fluorescent light. From my experience, there are more color differences under fluorescent lights than under tungsten. Just because you see a fluorescent light doesn’t mean it will be green. Some lights are already daylight-balanced and will give you proper color with a flash. 

Nikon D4, ISO 3200, f/6.3, 1/50, 28-300mm, White Balance: Fluorescent

Here you can see the shift to a better skin tone and background, not as green because I used a green gel over the flash.

While this may take 2 – 5 minutes to set up properly over time, you may cut your time to 2 – 3 minutes. You must see this in your overall workflow. For every photo you shoot, 2 – 5 minutes once or 2 – 5 minutes to color correct it. It is your choice. Depending on the situation, you might not have time. If you had the time and didn’t do it, you will wish you had during the post.

Off Camera Flash Examples

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Walk and Talk

This past week, I was privileged to photograph a college campus. I combined two things that gave me some of my best photos: off-camera flash and people moving. These combined techniques resulted in great expressions and good color.

The first thing I started with on the assignment was a group photo, but the best results regarding expressions were not when they were standing still but when they all walked toward me. Now mind you I almost lost my photo assistant a few times. He had to walk backward and keep the same distance from the group constant. This was to ensure I had good exposure.

Nikon D4, 28-300mm, ISO 100, 1/250, f/6.3, Off-Camera Fill Flash with Alien Bees 1600 and fired with Pocket Wizard Plus System.

Since I had a good group and we finished early with the group photo, I divided them into small groups and had each do what I call walk-and-talk. We assigned one person to talk and the others to listen with their ears and eyes. So, one person talks, the others listen, and they walk towards me.

Thankfully, the assistant didn’t fall this week while walking backward, carrying lights, and watching the subjects to ensure the lights were on.

Nikon D3S, 14-24mm, ISO 200, 1/50, f/5.6, Off-Camera Fill Flash with 2 – Alien Bees 1600, fired with Pocket Wizard Plus System.

Buildings

I love shooting buildings at dusk. The photo of the building and the students walking is taken at 7:55 p.m., and sunset is at 7:58 p.m. I love this digital camera. You can see all the information, like when I shot the photos. While the sky looked better about 20 minutes after sunset, we had to let the students go to another commitment.

We had them walk through the scene a few times. My two Alien Bees 1600 are lighting the building on full power, powered by Paul Bluff’s Vagabond batteries. 

Nikon D3S, 14-24mm, ISO 200, 1/1.6, f/11, Off-Camera Fill Flash with 2 – Alien Bees 1600, fired with Pocket Wizard Plus System. The flash sync was set to Rear Sync to get the car lights behind the car and not in front of it.

I took the photo above at 8:24 p.m., and as you can see, the sky is much darker blue but not black. I used the Alien Bees to light up the building since this campus didn’t have lights on their buildings at night.

Fill flash in the woods.

Nikon D4, 28-300mm, ISO 250, 1/80, f/9, Off-Camera Fill Flash with Alien Bees 1600 and fired with Pocket Wizard Plus System.

One of the ugliest lighting is under trees. You get a green cast due to the light going through the leaves. I used the off-camera flash with the Alien Bees 1600 to kick in light from the front and mainly offset the green light. I also benefited from having light in their face rather than raccoon eyes. Raccoon eyes are caused by top lighting, which you see during the day and give you dark circles around the eyes.

Fill flash in direct sunlight.

Nikon D3S, 14-24mm, ISO 200, 1/200, f/13, Off-Camera Fill Flash with Alien Bees 1600 and fired with Pocket Wizard Plus System.

Why use a flash in direct sunlight? You need to avoid raccoon eyes, and also, if you want, you can help drive the audience to the subject by using the light as I have done here.

Fill flash inside

Nikon D4, 28-300mm, ISO 3200, 1/125, f/6.3, Off-Camera Fill-Flash with Nikon SB900 with the lightest green gel that comes with the system. Also, I am using the Radio Poppers radio transmitters with the Nikon SU-800 and Nikon SB900 so that I do not have to be in the line of sight for the infrared to trigger the flash.

When I am inside, and people are working like this lady on her computer, you are just as prone to get raccoon eyes as outside. Why? The reason is that the fluorescent lights above her act like the noon sun. I have the photo assistant hold the flash and direct it to her face. The Nikon SB900 is zoomed to 200mm and, therefore, is light using a grid on studio strobes. It is directing the light to just her face. 

I used the lighter green gel with the Nikon SB900 system to balance the flash with the room lights. To get the correct lighting, I took a custom light reading using the ExpoDisc and had the assistant point the flash at the lens when I did this. I tried both green gels that came with the camera, and the lighter gel gave the best balance of color with the rest of the room.

I set the sync speed to Slow-Sync. I shot the photos in Aperture Priority on Auto ISO with the maximum shutter speed set to 1/100 so I would avoid the color shift that happens with fluorescent lights.

Tips for Off Camera Flash for +/- exposure problems

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Off-Camera Flash Setup with Nikon Speedlights

When I first wrote about using off-camera flash, I realized I needed to revisit the topic and highlight some points.

ISO, Shutter Speed, Aperture, and +/-

A few things will affect your ability to get proper exposure. Let’s set each of these on a Nikon so that everything will work.

ISO – Be sure you are not using Auto ISO.  Start with the lowest ISO and adjust for various reasons.  For example, you may want to up the ISO to help open the background.

Enter the menu and set the Auto FP high sync speed to 250*. Auto FP High-Speed Sync is a flash mode used for fill-flash photography under brightly lit conditions. When set, you can shoot faster than 1/250 sync speed and do this only with your Nikon Speedlight system.

Set the flash setting to Slow Sync or Rear Sync.  I prefer Slow Sync for almost everything. If needed, this will fire the flash, and, the shutter may stay open for longer, but this will freeze the subject when you push the shutter.  If you choose Rear Sync, the flash will fire at the end of the shutter cycle. You may not know when the flash fires using this setting.

Please refer to the older posts on this to learn how to control the amount of light on the subject and how to control the background.

Ambient Light and Flash Combined

Improve your Flash photos by not lighting everything

Flash Over Exposing

First, be sure to turn the flash as far down as possible.  Using the SU-800, it will go to -3 Stops.

If you still feel overexposed, your ISO is usually set too high. Lower your ISO setting.

The background is too dark.

Crank up the ISO and double-check to be sure you have Slow Sync chosen. Otherwise, you will be syncing at the lowest shutter speed, about 1/60. You may need to be slower.

The background is controlled by the camera +/- exposure compensation dial and ISO.

Flash is too bright or dark.

Remember, the control for this is the SU-800 or the master setting in the pop-up flash on the models having this control.