light

Chris Marquardt and the missing color

Chris Marquardt

Episode 1617

Chris joins Leo to talk about a color in photography that doesn't exist: magenta. Chris says there is no magenta, and your brain invents the color shades in between the basic colors. On top of that, ten percent of people are color blind. You can mix colors sure, but its just mixed light in the spectrum. Each color has a wavelength in the visible spectrum. Magenta doesn't have a wavelength in the visible spectrum: it doesn't exist. But your mind makes it up when you mix colors together. It's called an extra spectral color.

Have you heard of Li-Fi?

Light beams

Episode 1153

Jack from Thornton, NH

Jack is wondering if Leo had heard of LiFi, which uses light to transfer data between the ISP and the computer. This is not the first time we've seen this kind of thing, and there are a number of ISPs that use microwave as well. Microwave and LiFi require direct line of sight. Leo says in theory, this makes sense, as it uses the same type of technology as fiber-optic. But there are issues with this, and this line-of-sight light could be interrupted by weather and other factors.

Chris Marquardt and the Mixed Light Myth

Episode 940

Chris wants to bust the myth that photos should never be shot in mixed light. The argument is because competing color temperatures can throw an image out of balance. Leo says isn't it hard to white balance with different colors? Chris says that can be used to a photographers advantage because our brain's are wired to make sense of what they see. Different light will give you hidden hints of where and when your image is. Your brain will paint the picture for you. So he rejects the notion that mixed light in an image is a bad thing.

Chris Marquardt and the Sun Myth

Episode 934

Chris wants to let everyone know that while a subject needs as much light as possible, the concept of making sure the light is behind you is an ancient one. Nowadays, lenses are better, have better reflective coating, and more sensitive censors. Lens flare is actually an artistic choice now, so having a little sun coming in from an angle can be beneficial. What's more important is the depth and texture of having the light somewhere other than on the camera. On the side, perhaps, or even from behind. That gives you great edge definition.