PHOT- 1091 -25W Science & Theory For Image Creators PDF

PHOT- 1091 -25W Science &Theory For Image Creators Gilles Sweet-Boulay Week 02 - 2025 Winter Week 03 You Talk Topics Finish… Light meters: Reflected vs Incident (18% grey) Assignment 01 Exposure Compensation Reciprocity (put on your thinking caps) Reminder Keep up with the Reading...

PHOT- 1091 -25W Science &Theory For Image Creators Gilles Sweet-Boulay Week 02 - 2025 Winter Week 03 You Talk Topics Finish… Light meters: Reflected vs Incident (18% grey) Assignment 01 Exposure Compensation Reciprocity (put on your thinking caps) Reminder Keep up with the Reading Quizzes Exposure Basics Exposure Triangle Exposure Basics There are 3 ways to change the brightness of a photo or… more accurately 3 ways to change the exposure Exposure Triangle  Exposure Basics or… 2 ways to control how much light enters the camera & There are 3 ways to 1 way to determine how much change the brightness light that the sensor needs of a photo or… more accurately 3 ways to change the exposure Exposure Triangle Finish&the&series...& & & Shutter'Speeds' Apertures'(f.stops)' ISO' 2&seconds& f1& 12& 1&second& f1.4& 25& 1/2&second& f2& 50& 1/4& f2.8& 100& & & & & & & & & & & Me& & mo & Lea & rize & rn t t h & & he p ese! & a tter & & & n! & & & & & & &  Back to light meters Light Meters: 2 Basic Types Incident Reflective  Light Meters: 2 Basic Types Incident Light Meter Used to measure the light falling on a subject The dome or lumisphere of the light meter is usually place near the subject, and pointed towards the light source or towards the camera Reflective Light Meter Used to measure the light reflecting off a subject These meters do not have a dome or lumisphere. The photocell is aimed towards the subject This is similar to what your camera’s internal meter is measuring  Reflective Light Meters and 18% Grey Reflective light meters are calibrated to assume your subject is grey A very specific grey known as 18% grey Most scenes reflect approximately18% of the light, so most of the time reflective meters will produce a good exposure The is calibrated to provide an aperture and shutter speed that will produce an image that averages out to 18% grey Similarly, your camera’s internal meter measures how much light is reflecting off the scene filling your frame. It measures the different tones, averages it out and then assumes it is coming from a subject that reflects 18% of the light that hits it. Basically, your camera when using auto exposure, assumes that it is photographing a grey card. Aft er a blu gua r ha ssia s b n app een lied  The problem with reflective meters If a scene or subject is mostly bright or mostly dark, the meter will produce an incorrect exposure. (Do you know why?)  The problem with reflective meters If a scene or subject is mostly bright or mostly dark, the meter will produce an incorrect exposure even when both are being lit by the same light source. (Do you know why?) What will the photo of the polar bear look like if the camera was set to auto- exposure? Or… what if we were using a reflective light meter What about the black cat?  I Repeat… Your in-camera meter makes the same assumption It averages the different tones, and then assumes it is coming from a subject that is 18% grey. (Basically it assumes it is photographing a grey card) It then selects an aperture (f-#) and a shutter speed that produces an image that averages to 18% grey Image source: https://www.audreyannphoto.com/blog/why-you-need-to-stop-using-all-the-auto-functions-of-your-camera (Sept 2021) January 16, 2025 @ 12 pm  Three Shades of Grey This exercise will allow you to see first-hand, how the light meter in your camera determines exposure values. You can think of it as an experiential learning exercise. Learning Outcome: After completing this exercise, you should be able to predict how your in-camera light meter will interpret a scene and predict the resulting brightness of an image. Procedure: 1. Find 3 flat objects, i.e., a wall, paper, cardboard etc. The objects should be coloured as follows, one black, one white and one grey. There will be black, white and grey matte boards (16x20) available in Studio 7 and D1039 for your convenience. 2. Prepare your camera… a. Use any lens b. Set camera/lens to manual focus* c. Set ISO to 3200 d. Set your image quality to jpeg mode. (no need for RAW here) e. Set camera to an auto exposure mode. This could be P-mode, or Auto Mode (with flash off) It could also be Aperture priority, or Shutter priority. f. If you’ve ever adjusted your exposure compensation, then ensure that it is set back to “0” or normal 3. Using your camera, and any lens, photograph the 3 objects separately. One photo for each. Move as close to the object as necessary to fill your frame. Zooming in, will also work. It is not necessary for the object to be in focus. Note: you may find that if you are too close, you cannot focus. That’s OK, focus is not necessary here. Its more important that you fill your frame. 4. Do not alter the photos in any way. Upload your three files to the submission folder, “3 Shades of Grey” within PHOT-1064 on FOL. 5. Download this document onto your computer. Save it with a new name, i.e., YourName-Shades-of-Grey.pdf, and then complete the written portion on page 2. It’s a PDF that you can actually type into without printing. After typing in your answer, save the document, and upload it to the same submission folder, “3 Shades of Grey” within PHOT-1064 on FOL.  Three Shades of Grey This exercise will allow you to see first-hand, how the light meter in your camera determines exposure values. You can think of it as an experiential learning exercise. Learning Outcome: After completing this exercise, you should be able to predict how your in-camera light meter will interpret a scene and predict the resulting brightness of an image. Procedure: 1. Find 3 flat objects, i.e., a wall, paper, cardboard etc. The objects should be coloured as follows, one black, one white and one grey. There will be black, white and grey matte boards (16x20) available in Studio 7 and D1039 for your convenience. 2. Prepare your camera… a. Use any lens b. Set camera/lens to manual focus* c. Set ISO to 3200 d. Set your image quality to jpeg mode. (no need for RAW here) e. Set camera to an auto exposure mode. This could be P-mode, or Auto Mode (with flash off) It could also be Aperture priority, or Shutter priority. f. If you’ve ever adjusted your exposure compensation, then ensure that it is set back to “0” or normal 3. Using your camera, and any lens, photograph the 3 objects separately. One photo for each. Move as close to the object as necessary to fill your frame. Zooming in, will also work. It is not necessary for the object to be in focus. Note: you may find that if you are too close, you cannot focus. That’s OK, focus is not necessary here. Its more important that you fill your frame. 4. Do not alter the photos in any way. Upload your three files to the submission folder, “3 Shades of Grey” within PHOT-1064 on FOL. 5. Download this document onto your computer. Save it with a new name, i.e., YourName-Shades-of-Grey.pdf, and then complete the written portion on page 2. It’s a PDF that you can actually type into without printing. After typing in your answer, save the document, and upload it to the same submission folder, “3 Shades of Grey” within PHOT-1064 on FOL. Exposure Compensation Exposure Compensation Overriding your Camera’s Built-in light meter  Exposure Compensation Image #2 Image #1 Image #3 Image #1 source: Ben Long’s Complete Digital Photography, 9th Ed. page 115 Image #2 source: https://www.diyphotography.net/use-exposure-compensation/ (Sept 2021) Image #3 source: https://imaging.nikon.com/support/digitutor/d810/functions/exposurecomp.html (Sept 2021)  Exposure Compensation The meter in your camera will try to determine the settings that will allow the proper amount of light to pass through to the sensor. However, its easy for your camera to get it wrong!  Exposure Compensation The meter in your camera will try to determine the settings that will allow the proper amount of light to pass through to the sensor. However, its easy for your camera to get it wrong! or… it might not create the “look” that you want.  Exposure Compensation The meter in your camera will try to determine the settings that will allow the proper amount of light to pass through to the sensor. However, its easy for your camera to get it wrong! or… it might not create the “look” that you want. This is when you need to override your camera’s built-in light meter.  How a light meter works Reflected Metering Please be aware… There is a problem with measuring reflected light. Illustration Source: https://www.japanistry.com/metering/ (Jan 2, 2022) Exposure Compensation Automatic Exposure or the camera’s built-in metering system may be “fooled” by the bright windows, and produce an image darker than it should be Image Source: https://pixabay.com/photos/kitchen-real-estate-interior-design-1940177/ (Sept 2021) Exposure Compensation In this case, setting the exposure compensation to “+1”, meant that the camera will make the image one stop brighter than what it’s built-in meter would have normally produced. Image Source: https://pixabay.com/photos/kitchen-real-estate-interior-design-1940177/ (Sept 2021) Exposure Compensation In this case, setting the exposure compensation to “+1”, meant that the camera will make the image one stop brighter than what it’s built-in meter would have normally produced. Image Source: https://pixabay.com/photos/kitchen-real-estate-interior-design-1940177/ (Sept 2021) Exposure Compensation Automatic Exposure or the camera’s built-in metering system may be “fooled” by the dark tones in this chocolate cake, and produce an image that is brighter than it should be Image Source: https://pixabay.com/photos/cake-party-birthday-childish-2600407/ (Sept 2021) Exposure Compensation In this case, setting the exposure compensation to “-0.7”, meant that the camera will make the image 2/3’s of a stop darker than what it’s built-in meter would have normally produced. Image Source: https://pixabay.com/photos/cake-party-birthday-childish-2600407/ (Sept 2021) Exposure Compensation In this case, setting the exposure compensation to “-0.7”, meant that the camera will make the image 2/3’s of a stop darker than what it’s built-in meter would have normally produced. Image Source: https://pixabay.com/photos/cake-party-birthday-childish-2600407/ (Sept 2021) Reciprocity  Reciprocity Think “balance” Think “maintaining equilibrium” Think “what goes up must come down” Reciprocity  Reciprocity f/8 @ 1/250, ISO 100 250 8 Image Source (Sekonic Website) http://www.sekonic.com/products/l-358/overview.aspx  Reciprocity f/stop 8 time 1/250 shutter speed f/8 @ 1/250, ISO 100 250 8 Image Source (Sekonic Website) http://www.sekonic.com/products/l-358/overview.aspx  Reciprocity f/stop 8 time 1/250 shutter speed First concept to understand… For any given brightness level, there are many combinations that will produce a good exposure. f/8 @ 1/250, ISO 100 250 8 Image Source (Sekonic Website) http://www.sekonic.com/products/l-358/overview.aspx  Reciprocity f/stop 1.4 2 2.8 4 5.6 8 11 16 22 time 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 shutter speed First concept to understand… For any given brightness level, there are many combinations that will produce a good exposure. f/8 @ 1/250, ISO 100 In this situation, any of the above settings will 250 8 allow the same amount of light to reach the sensor. Image Source (Sekonic Website) http://www.sekonic.com/products/l-358/overview.aspx  Reciprocity f/stop time shutter speed 30 8 Image Source (Sekonic Website) http://www.sekonic.com/products/l-358/overview.aspx  Reciprocity f/stop time shutter speed f/8 @ 1/30, ISO 100 30 8 Image Source (Sekonic Website) http://www.sekonic.com/products/l-358/overview.aspx  Reciprocity f/stop 8 time 1/30 shutter speed f/8 @ 1/30, ISO 100 30 8 Image Source (Sekonic Website) http://www.sekonic.com/products/l-358/overview.aspx  Reciprocity f/stop 1.4 2 2.8 4 5.6 8 11 16 22 time 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 ¼ shutter speed f/8 @ 1/30, ISO 100 30 8 Image Source (Sekonic Website) http://www.sekonic.com/products/l-358/overview.aspx  Reciprocity f/8 @ 1/250, ISO 100 f/stop 1.4 2 2.8 4 5.6 8 11 16 22 time 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 shutter speed f/8 @ 1/30, ISO 100 f/stop 1.4 2 2.8 4 5.6 8 11 16 22 time 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 ¼ shutter speed  Reciprocity The relationship between the intensity of the light and duration of the exposure that result in identical exposure.  Reciprocity The relationship between the intensity of the light and duration of the exposure that result in identical exposure. H u h? ? http://www.dailytimesgazette.com/the-word-huh-is-universal-study-shows/27575/  Reciprocity The relationship between the intensity of the light and duration of the exposure that result in identical exposure. Think “balance” Think “maintaining equilibrium” Think “what goes up must come down” Reciprocity Lets’ assume f-8 @ 1/30th produces a good exposure, Reciprocity Lets’ assume f-8 @ 1/30th produces a good exposure, but I want to use 1/60th sec for my shutter speed. Reciprocity Lets’ assume f-8 @ 1/30th produces a good exposure, but I want to use 1/60th sec for my shutter speed.  Reciprocity Lets’ assume f-8 @ 1/30th produces a good exposure, but I want to use 1/60th sec for my shutter speed. Assuming that you are in Manual Exposure mode, what will happen to your photo?? Reciprocity In other words, f-8 @ 1/30th is the same as… f-____@ 1/60th  Reciprocity f-8 @ 1/30th is the same as… f-____@ 1/60th f/stop 1.4 2 2.8 4 5.6 8 11 16 22 aperture time 1 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 shutter speed  Reciprocity f-8 @ 1/30th is the same as… f-____@ 1/60th f/stop 1.4 2 2.8 4 5.6 8 11 16 22 aperture time 1 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 shutter speed  Reciprocity f-8 @ 1/30th is the same as… f-____@ 1/60th f/stop 1.4 2 2.8 4 5.6 8 11 16 22 aperture time 1 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 shutter speed RESULTS IN PHOTO BEING DARKER  Reciprocity f-8 @ 1/30th is the same as… f-____@ 1/60th RESULTS IN PHOTO RETURNING TO ORIG BRIGHTNESS f/stop 1.4 2 2.8 4 5.6 8 11 16 22 aperture time 1 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 shutter speed  Reciprocity f-8 @ 1/30th is the same as… f-5.6 @ 1/60th RESULTS IN PHOTO RETURNING TO ORIG BRIGHTNESS f/stop 1.4 2 2.8 4 5.6 8 11 16 22 aperture time 1 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 shutter speed  Reciprocity Let’s say you are photographing a person while they are walking, and your light meter has told you that the “correct” exposure for the image is... f-16 @ 1/60th  Reciprocity Let’s say you are photographing a person while they are walking, and your light meter has told you that the “correct” exposure for the image is... f-16 @ 1/60th However, because your subject is moving, you decide that you want to use a faster shutter speed to ensure that your subject will not appear blurry.  Reciprocity Let’s say you are photographing a person while they are walking, and your light meter has told you that the “correct” exposure for the image is... f-16 @ 1/60th However, because your subject is moving, you decide that you want to use a faster shutter speed to ensure that your subject will not appear blurry. Let’s say you want to use 1/250th of a second for your shutter speed.  Reciprocity Let’s say you are photographing a person while they are walking, and your light meter has told you that the “correct” exposure for the image is... f-16 @ 1/60th However, because your subject is moving, you decide that you want to use a faster shutter speed to ensure that your subject will not appear blurry. Let’s say you want to use 1/250th of a second for your shutter speed. 1/60 1/125 1/250 1/500 1/60th 1/250th  Reciprocity Let’s say you are photographing a person while they are walking, and your light meter has told you that the “correct” exposure for the image is... f-16 @ 1/60th However, because your subject is moving, you decide that you want to use a faster shutter speed to ensure that your subject will not appear blurry. Let’s say you want to use 1/250th of a second for your shutter speed. What changes will be necessary to keep the exposure the same? In other words, what’s your new aperture have to be?  Reciprocity f-16 @ 1/60th is the same as… f-____ @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed  Reciprocity f-16 @ 1/60th is the same as… f-____ @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed  Reciprocity f16 @ 1/60th is the same as… f-____ @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed  Reciprocity f16 @ 1/60th is the same as… f-____ @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed  Reciprocity f-16 @ 1/60th is the same as… f-8 @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed Reciprocity f-16 @ 1/60th is the same as… f-8 @ 1/250th What if I don’t want to use f-8? I prefer to stick with f-16 Reciprocity f-16 @ 1/60th is the same as… f-8 @ 1/250th What if I don’t want to use f-8? I prefer to stick with f-16 Answer: Change the ISO  Reciprocity ISO 100, f-16 @ 1/60th is the same as… ISO ____, f-16 @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed ISO 3200 1600 800 400 200 100 50 25 12  Reciprocity ISO 100, f-16 @ 1/60th is the same as… ISO ____, f-16 @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed ISO 3200 1600 800 400 200 100 50 25 12  Reciprocity ISO 100, f-16 @ 1/60th is the same as… ISO ____, f-16 @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed ISO 3200 1600 800 400 200 100 50 25 12  Reciprocity ISO 100, f-16 @ 1/60th is the same as… ISO ____, f-16 @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed ISO 3200 1600 800 400 200 100 50 25 12  Reciprocity ISO 100, f-16 @ 1/60th is the same as… ISO ____, f-16 @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed ISO 3200 1600 800 400 200 100 50 25 12  Reciprocity ISO 100, f-16 @ 1/60th is the same as… ISO 400, f-16 @ 1/250th f/stop 2.8 4 5.6 8 11 16 22 32 45 time 1/2 ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 shutter speed ISO 3200 1600 800 400 200 100 50 25 12  Reciprocity Can you solve the problems on the sheet… F-Stop - Combos (download from FOL) Finish&the&series...& & & Shutter'Speeds' Apertures'(f.stops)' ISO' 2&seconds& f1& 12& 1&second& f1.4& 25& 1/2&second& f2& 50& 1/4& f2.8& 100& & & & 1/8 f4 200 & & & 1/15 f5.6 400 & & & 1/30 f8 800 & & & 1/60 f11 1600 & & & 1/125 f16 3200 & & & 1/250 f22 6400 & & & 1/500 f32 12800 & & & 1/1000 f45 25600 & & & 1/2000 f64 51200 &  f/11 @ 1/60 sec will produce the same exposure as f/2.8 @______sec Finish&the&series...& & & Brighter (more exposure) Shutter'Speeds' Apertures'(f.stops)' ISO' 2&seconds& f1& 12& 1&second& f1.4& 25& 1/2&second& f2& 50& 1/4& f2.8& 100& & & & 1/8 f4 200 & & & 1/15 f5.6 400 & & & 1/30 f8 800 & & & 1/60 f11 1600 Darker (Less exposure) & & & 1/125 f16 3200 & & & 1/250 f22 6400 & & & 1/500 f32 12800 & & & 1/1000 f45 25600 & & & 1/2000 f64 51200 &  F-stop Shutter speeds Brighter 1 Brighter 1 sec 1.4 1/2 2 ¼ 2.8 1/8 4 1/15 5.6 1/30 8 1/60 11 1/125 16 1/250 Darker 22 1/500 ISO Darker 1/1000 Darker 100 200 On a te 400 shoul st, or quiz, d y this o be able to ou 800 ut wr of pap on a scrap ite 1600 er. piece 3200 6400 12800 Brighter 25600  F-stop Brighter 1 f-8 @ 1/30th 1.4 2 2.8 is the same as… 4 5.6 8 11 f-5.6@ 1/60th 16 Darker 22 Shutter speeds Iso Brighter 1 sec Darker 100 200 1/2 400 ¼ 800 1/8 1600 3200 1/15 6400 1/30 Brighter 12800 1/60 1/125 1/250 1/500 Darker 1/1000  Light: Definition “ Visible Light” is the name given to electromagnetic radiation that can evoke a human visual response.  Light: Definition “ Visible Light” is the name given to electromagnetic radiation that can evoke a human visual response. Visible Light is a small part of a wide range of radiant energy that exists in the universe.  Visible Wavelengths Image Source (Oct 2020): https://catalyticcolor.com/anti-aging-science-of-healing-sunshine-why-color-light-and-art-therapy-heal/electromagnetic-spectrum-png-highres/  Wavelength Units A nanometer is a measure of length just like an inch or a cm. A nanometer is 10-9 meters, or one billionth of a meter. As a reference… a human hair is approximately 100,000 nm thick. Image Source (Oct 2020): https://www.webrn-maculardegeneration.com/rods-and-cones.html TV Remote Experiment Find a remote control, i.e., TV remote. Turn on “Live View” or video on your camera (your phone camera might work too) Aim your camera at the remote control, see if your camera can “see” the infrared signal. Image Source: http://scitoys.com/scitoys/scitoys/light/invisible/invisible.html Colour Temperature & White Balance  The Colour of Light Does light have a colour  The Colour of Light Is light white, or neutral We assume that there is an equal amount of energy coming from all the visible wavelengths. This is rarely the case The Spectral Quality of Light The spectral quality refers to the spectrum or spread of colors (wavelengths) emitted by a light source. Different light sources deliver different amounts of energy at different wavelengths The Spectral Quality of Different Light Sources http://www.lamptech.co.uk/Images/Illustrations/SO%20SPD's.jpg http://www.lamptech.co.uk/Images/Illustrations/SO%20SPD's.jpg  An example of lighting from a low pressure lamp http://littlehouseontheurbanprairie.wordpress.com/2011/10/23/the-stop/ Image source: http://www.ecvv.com/product/2035773.html  Colour Constancy The human color perception system which ensures that the perceived colour of objects remains relatively constant under varying illumination conditions. For example, blue sky has a high blue content, and a tungsten lamp, has low blue, but high yellow content However, we rarely notice this difference d  Colour Constancy In this scene, the women are lit by a tungsten light from a bathroom nearby. The background was lit by light coming in through the windows. I did not see the blue light when I took the photo. Everything looked neutral.  Colour Constancy In this scene, the women are lit by a tungsten light from a bathroom nearby. The background was lit by light coming in through the windows. I did not see the blue light when I took the photo. Everything looked neutral. o r r e ct g t o c Tryin otoshop h it in P  Spectral Quality as Colour Temperature Photographers use colour temperature to describe the spectral quality or white balance Image Source: https://www.slrlounge.com/workshop/white-balance-and-color-temperature/  Colour Temperature Heat up a “black body” and it begins to emit energy in the form of electromagnetic wave.  Colour Temperature Heat up a “black body” and it begins to emit energy in the form of electromagnetic wave.  Colour Temperature Heat up a “black body” and it begins to emit energy in the form of electromagnetic wave. The “black body” will begin to glow from a red colour to a yellow then white and then blue. Image Source: http://jootix.com/wallpaper/2328 Colour Temperature Scale  Kelvins Kelvin is typically the unit for temperature that is used by physicist, and other scientist Kelvin Celcius Fahrenheit Absolute zero 0K −273.15 °C −459.67 °F Melting point 273.15 K 0 °C 32 °F of ice water 373.1339 K 100 °C 211.9710 °F boiling point Examples of Colour Temperatures Relevant to Photographers Candle =1930K Tungsten light = 2700K-3400K Daylight = 5500K Electronic Flash = 6000K Cloudy sky = 6500K Blue Sky = 8000K Photography Jargon “cool” light vs “warm” light Image Source (Oct 2020): https://www.utahlights.com/hubfs/Temp%20Guide.gif