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1
These are intended more to be used in mixed
lighting conditions, such as joined with
daylight, compared to straightforward studio use.
A lot more efficient version of tungsten lighting
is the tungsten-halogen lamp. Chroma key This
uses exactly the same coiled tungsten filament
but it burns at a much higher temperature in
halogen gas. Consequently, these lamps maintain
virtually the identical light output and color
temperature throughout their life they also last
longer than traditional lamps and are smaller
with regard to their equivalent wattage.
Available wattages range from 200 to 10,000 and
the most powerful are intended for
cinematography the highest normal wattage for
still photographic lights is 2000. The light
output is the same as that from a new tungsten
lamp of traditional style with the same wattage.
2
The most general-purpose housing has reflectors
that give a spread of between about 45 and 90
degrees. Light that gives tighter concentration
is intended for more specialized use. Many
housing allow some change to the beam pattern by
moving the lamp in and out of the reflector or by
moving reflector doors. Barn doors fitted to some
housing have a slightly different effect they
cut the edges of the beam rather than concentrate
it. Chroma key software The beam patterns from
most housings show a fall-off from the center
outwards even with a well-designed reflector,
there is still a powerful concentration of light
in the lamps filament. One way of reducing this
fall-off in the design of the housing is to cover
the lamp from direct view with a bar or a spiller
cap. If the reflector dish is big as well, the
result is a degree of diffusion. Even softer but
less intense light is possible if the inside of
the dish is finished in white rather than bright
metal.
3
Tungsten light is easy to use, photographs the
way it looks, and great for large and static
subjects. However, it is extremely not bright
enough to freeze fast movement and still needs
blue filters. Every incandescent light needs to
be fine-tuned to have the best results. Usually,
it carries its very own light housing that
incorporates some kind of reflector behind the
lamp. This is partly to make use of all the light
radiated and partly to control the beam. The
deeper and more concave the reflector, the more
concentrated the beam as it is harder to spread a
beam that is already tight when it leaves the
housing compared to concentrate a broad beam.
4
Used alone in the studio, tungsten lamps simply
need 3200K incandescent white balance. However,
tungsten lighting is frequently used on location
and in interiors. However, this is often used in
combination with existing lighting, like daylight
and fluorescent light. As a result, lighting
filters are typically used for converting the
color temperature or for correcting the color to
that of fluorescent lamps. You could, however,
use mixed lighting and post-production methods
but it is best to get it right at the shoot. The
most typical filters are blue to match daylight.
Full blue is 131 mired half-blue is -68 mired
and quarter-blue is -49 mired. These filters can
be obtained as heat-resistant gels, glass and
dichroic. Dichroic filters are partial mirrors,
reflecting red back to the lamp and passing blue.
They may not be always consistent and ideally
needs to be checked before use with a
color-temperature meter.
5
The newer development, particularly relevant to
photography, in which cameras white balance
settings may take care of color differences, is
high-performance fluorescent. The lamps used are
flicker-free, nearly as bright as tungsten,
color-balanced for 5400K or 3200K, and cooler and
less expensive to run.
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