Originally posted by BigMackCam Imagine selecting the colour for your new car then finding it's a completely different shade upon delivery?
Funny you mention that: years ago when film was the only medium in commercial photography, my colleague* and I wrapped up on a studio shoot of a classic hotrod for an automotive publication and sent the film off to be developed. A few days later we get the transparencies back, and my colleague rushes into into my workspace with a panicked look upon his face "the colours are all wrong, the car is supposed to be dark purple, not pink" I looked at the transparencies - I'll admit, It took me a while to figure out the problem as I had never seen anything like it before.
It turns out, the strobes we were working with threw out
a lot of UV and it seemed the multi-layered paint on the car reflected it in a rather unique way. With the deadline rapidly approaching we were able to book another shoot with the cars owner (and gate crashed another photographers studio time) with only 2 days left, we got the shoot done. This time, I used my connections in the scientific field and managed to borrow three plate glass Dichroic wide-band UV cut filters that were only just big enough to fit on the strobes filter holders....complete
overkill but I wasn't going to take any chances**.
When the follow up shoot transparencies came in the colours were
perfect.
* Who was the more experienced and seasoned photographer than I was. I have worked with him many times since this incident, and we have a running joke "wait, that's not purple" when something goes awry.
** Yes, it would have been cheaper to use UV cut filters on the lenses, however in the studio, flare and ghosting can rear its head in unexpected ways especially with shiny chrome car parts...it wasn't worth the risk.