From colored gel filters to RGB LEDs, and from complementary color palettes to UV fluorescence—a comprehensive guide to using the color of light not just as decoration, but as a tool for exposure, contrast, and storytelling.
Portraits and productsA two-light startBlue gel ≈ red × 2–2.5RGB histogramUV Safety
Light color helps create both the mood and the sense of space on stage.
Color systemAdditive mixing in RGB lightAs red, green, and blue light are superimposed, new colors are created and a combined light that approaches white is produced.
ExposureEqual power does not mean equal brightnessStart with the blue gel light at approximately 2–2.5 times the intensity of the red light; measure the exact balance using the RGB histogram.
ControlWhere the light falls is just as important as the color itselfA grid, barndoor, flag, and the correct angle prevent two colors from unintentionally blending into a single color.
Before we begin
Color is not an effect added to light afterward.
Hello, I'm Burak Bulut Yıldırım, a photographer and photography instructor. Are you ready to explore the magical world of colors together? Accompanied by the colorful photos I’ve taken over the past 20 years, you’ll find all the details of the techniques I demonstrated in my Reels video in this guide.
Colored light determines how skin texture is rendered, where metal surfaces stand out, how deep the background appears, and where the viewer’s gaze will land first within the frame. Therefore, achieving a good result involves much more than simply “choosing two colors.”.
In this guide, I first discuss the behavior of gel and RGB lights, followed by color theory and UV/black-light photography. The portrait, fashion, product, industrial, and UV photography selections are drawn from my own work; the equipment product images and technical diagrams are provided solely as references to illustrate the tools used.
If this is your first time, follow steps 01–03. The sections on color theory and UV continue in the second HTML block.
Chapter 01
The Logic of Colored Light
The color mixing in paint is not the same as the color mixing of light. In photography, we work with the RGB additive color system.
01
Red + green = yellow
When the lights overlap on the same surface, the result tends toward yellow. As the power ratio changes, a yellow, orange, or greenish intermediate shade may form.
Red + blue = magenta
The magenta/purple family of colors forms in the overlapping area. If you want to keep the colors separate, physically separate the areas illuminated by the lights.
Green + blue = cyan
The total approaches cyan. When the three channels (K+Y+M) are superimposed in a balanced manner, a total close to white light is produced.
What does a gel filter do?
It transmits certain wavelengths of white light while absorbing others to a large extent. This process results in light loss and heat generation; the spectral transmittance curve in the technical data sheet is just as important as the filter’s color.
What does an RGB LED do?
It electronically mixes different LED channels. Additional in RGBW true white (W) LED ...is present; this means true white that doesn't have a blue cast and a more natural skin tone. If your light has a "W" in its name, you're in luck—but be sure to test the white balance with your own camera.
Chapter 02
Gel, flash, and RGB equipment
At home, you can start with a powerful flashlight; on a professional set, however, power, color consistency, shaping, and heat management are the key factors.
02
Lowest budget
Flashlight, powerful flashlight, or low-heat LED
Colored cellophane from a stationery store (yes, a notebook cover!) or a ready-made gel set by searching for “Color Gel Film” on Amazon
Black cardboard or flag
Tripod and manual exposure
Controlled studio
Two or three flash / RGBWW lights
Heat-resistant professional gel: LEE, Rosco
Grid, barndoor, snoot, and reflector
Gray card and color reference
Exposure meter or RGB histogram
Additional controls for the video
Flicker test and fixed shutter speed
Sufficient continuous light output
Fan Noise Control
Waveform / false color on the camera
Gel filterFor producing color using flash and appropriate continuous lighting.
Gel fixationUse the filter without blocking the airflow or letting it touch a hot surface.
Breaking NewsFreezes the motion; sets the power ratios in a repeatable manner.
RGB LED panelYou can adjust the hue, saturation, and intensity values directly.
LED TubeThe ambient light entering the frame can be used as edge lighting or background lighting.
LED stripFlexible and adhesive; waterproof models are ideal for product photography. Controlled via remote or USB.
Smart light bulbPhilips Hue, Xiaomi Yeelight: control color and brightness via the mobile app. Test the flicker performance beforehand.
My brand recommendations
Heat-resistant gel: LEE and Rosco — you can calculate the exposure balance without setting up a test shot by referring to the transmittance (%) and stop loss values listed in each gel’s catalog. RGB / RGBW LED: GVM Pro, Aputure, Nanlite, Godox, Colbor, Neewer. For white light quality CRI/TLCI ≥ 95 Set your goals; controlling everything through the app offers great convenience.
Check before purchasing
When buying LEDs “non-reflective” LUX values Take a look — sample table and explanation In this post I shared it.
In RGBW, the "W" stands for true white LED; when used with skin tones, the RGB mixture produces results that are noticeably more natural than white alone.
When effect modes (transition, pulse, color shift) are combined with long exposure, they become a creative tool.
Heat safety: Stationery cellophane should not be used in front of tungsten/halogen or high-temperature continuous light sources. Use a professional heat-resistant filter; maintain a distance and allow for air circulation between the filter and the light source; when testing with cellophane, punch a few small ventilation holes in it, and follow the manufacturer’s temperature instructions.
Chapter 03
Two-light starting configuration
The most reliable way to transition from a monochrome portrait to a two-color separation is to first adjust the area where the light falls, and then adjust the color and intensity.
03
Turn off the ambient light
Set the camera to manual mode. For the first test shot, make sure the scene is nearly black with the colored lights turned off.
Set up the lights one by one
Position the first light at a 45° angle as the main light, and the second on the opposite side as a side or background light. Test each one separately. A single monochromatic color creates a sense of unity, while a contrasting color pair provides dramatic contrast.
Measure Together
Turn on both lights; check that no single channel is clipped in the RGB histogram. Adjust the brightness first, then the hue and saturation.
This sample photo does not belong to Burak Bulut Yıldırım; it has been altered to show how the lights blend on the same surface.
Why do colors fade?
If two different lights fall on the same spot, you'll see a third color.
Look at what happened in this image: even though red was applied on one side and green on the other, the background and mascot turned out orange. Orange gel wasn’t used—it’s a light-diffusing material; when you aim red and green at the same point, the two colors add together. By the same logic, the area where red and blue overlap approaches magenta/purple. This isn’t a glitch; it’s additive color mixing.
Remove the model from the mold.
Position the background light at an angle that prevents it from spilling onto the model.
Use a grid, barndoor, or black flag; otherwise, angle one light to the right and the other to the left (or one up and the other down).
Determine in advance which area of the frame each light will illuminate.
Controlled mixture
Sometimes the goal isn't to separate, but to create a controlled gradient.
In this shot I took in 2021 for a natural stone jewelry brand, I directed the blue and red lights at an angle toward the background rather than directly at the product. By leaving the area where the lights overlapped in the background, I achieved a soft color transition.
Practical method: First, choose the transition point you want between the two colors; then adjust the width of the gradient using the light distance and power ratio. The key is to balance the power between the two lights.
RGB light transition, pulse, and color-changing effect modes with a long exposure By combining them, you can also create moving trails of color.
LUX product and jewelry photo shoot, 2021.
A topic known to very few “expert” photographers
Why does the blue gel always seem dim? Let's set a rule: 2–2.5 times the intensity of red.
When working with colored gelatin in the studio, we come across an interesting fact of physics: when you attach blue gelatin to one of two flashes of equal intensity and red gelatin to the other, The blue side always turns out paler. Two reasons overlap:
1) Difference in permeability. High-saturation blue gels transmit a narrow band of the spectrum; for example, a medium-saturation blue gel transmits approximately of the light, while a red gel of similar saturation may transmit –75 of it. The exact value is listed in the transmittance row of the gel catalog and varies by brand.
2) Wavelength sensitivity. Our perception of brightness and the image processed by the camera peak around ~555 nm (green); at ~450 nm (blue) and ~640 nm (red), the brightness per watt is much lower. For those interested in delving deeper wavelength of colors and quantum efficiency of cameras can look at these topics.
Therefore, for a balanced shot, use a blue gel on the flash; depending on the gel’s tint, adjust the red by approximately 2–2.5 times more powerful (+1 to +1.3 stops) Get started. I’ve been explaining this to hundreds of photographers in my studio photography courses since 2010; now it’s not just Burak Bulut and my workshop friends who know this—you do, too. Can I count you among my workshop friends? ❤️
Illustration for illustrative purposes only: Red has the advantage at the start of the match—Blue shouldn’t enter the ring without doubling its strength.
Measure for precise adjustment — 2–2.5 times is a starting point; it varies depending on the gel brand and shade:
Turn on each light individually and take a test shot on the same surface.
Compare the brightness levels of the R and B channels in the RGB histogram.
Adjust the power level in small increments (1/10 stop).
Check again to see if there is single-channel flickering while both lights are on.
White balance
Auto white balance can alter your color scheme.
When working with colored light, AWB may apply different corrections from frame to frame. For consistency, start with a fixed Kelvin value and shoot in RAW. There isn’t just one “correct” Kelvin value; I usually 5200 K (daylight) I’ll start with this—the starting point you choose within the 4300–5600 K range changes the warm-to-cool distribution of the color palette and shifts the gel’s result toward blue or yellow, allowing you to achieve different tones. The gray card is the most reliable method.
For portraits where you want the skin to look natural, leave part of the face in neutral white light, or use colored light only as an edge or background layer.
Problem-solving
Common errors and solutions
The gelatin is heating up and deforming
Use a heat-resistant professional filter or leave some space between the filter and the light; cut a ventilation hole in the cellophane.
The colors look faded or different
Manually adjust the white balance; use a gray card if possible; reduce the ambient light exposure; and choose a light source with a high CRI.
Unwanted reflections and light leakage
Use a barndoor, grid, or black flag to direct the light to the target area.
Harsh, distracting shadows
Use a softbox or diffuser to soften the light.
Colored light distorts skin tone
Add a neutral, gelatin-free fill light to part of the skin, or move the colored light to the edge or background layer.
Dark/bright areas, focus issues
Use the histogram to balance the ISO–aperture–shutter speed triangle. In low light, focus manually or use an assist light to lock focus and then turn off the light.
From my photos
How have I used colored light in different projects?
All of the photos here were taken by me. In these images—which I’ve selected from my portrait, fashion, and industrial work—you can see how I’ve built up separate layers of light without mixing the colors.
Two examples where I separated the colors on the set
I didn't add the colors to these two frames afterward; I set them up as separate light layers during the shoot. Notice how each light falls in a different spot for more distinct colors.
The color wheel makes it easier to choose colors; however, a good color palette is determined by the subject matter, skin tone, brand identity, and the proportions within the frame.
04
On the color wheel, opposite colors create high contrast, while adjacent colors produce a softer transition. Complementary color pairs: Red–Cyan, Green–Magenta, Blue–Yellow.
Four functional palettes
Monochromatic
Different levels of brightness and saturation within a single color. It highlights form, texture, and shadow.
Analog
Adjacent colors on the color wheel. Soft, seamless transitions, such as blue–purple or yellow–orange.
Complementary
Blue–orange, red–cyan, green–magenta. High contrast and a strong visual hierarchy.
Split complement
A primary color and the two colors adjacent to its opposite. This provides a more flexible palette while maintaining contrast.
Color psychology is not absolute: “Pairings like ”blue always means trust, red always means passion” vary depending on culture, context, saturation, brightness, and the proportions in the image. Use color not as proof of the narrative, but as a design element that guides the narrative.
Photo: Burak Bulut Yıldırım — LUX × Meralens, Germany, 2024.
Color in Portraiture
Think of the skin, makeup, and background as three separate color layers.
Red-orange tones convey warmth and intimacy; blue-green tones convey calm and serenity. Create a strong accent using high-contrast complementary pairs, such as red and green, for a dramatic effect.
When colored light hits the face directly, it alters the skin tone; this isn’t always a problem. However, in beauty and commercial portraiture, where the color of the product or makeup needs to be accurately rendered, separating the neutral main light from the colored edge or background light yields more controlled results.
Move the colored light to the shadow or edge.
Check for single-channel clipping in bright areas of the image.
Test how the pigments in the makeup behave under the selected LED.
Photo: Burak Bulut Yıldırım — A commercial shoot for one of our clients, a cosmetics brand, where we added an orange tint to the light to create contrast between the products and the set design.
Photo: Burak Bulut Yıldırım — a LUX cosmetics photoshoot where we used our client’s logo and product colors as the background lighting.
Purpose of the shoot
Starter Palette
Lighting Strategy
Checkpoint
Natural skin tones + colorful atmosphere
Neutral white + one accent color
Neutral key, colored rim, or background
Leave a neutral reference on the face
Neon Editorial Portrait
Magenta + cyan
Hard/medium-hard light from both sides
Manage color blending on the nose and cheeks
Separating the product from the mold
A background that complements the product's color
Product: neutral, background color
Do not alter the color of the packaging
Brand Identity
Primary + secondary brand color
Distribute them across the background and decoration layers
Verify the corporate color code on the monitor
On-set check
Exposure, flicker, and color accuracy
Even if the overall brightness appears correct under colored light, a single RGB channel may reach saturation and lose detail.
RGB histogram
In addition to the total histogram, evaluate the red, green, and blue channels separately. Single-channel clipping is particularly common with neon red and blue light.
Flicker Test
With inexpensive LEDs, banding caused by PWM may occur in dimmer and effect modes. Test them using actual shooting conditions in photos and videos; do not rely solely on visual inspection.
Color metric
White light quality CRI/TLCI of 95 or higher Aim for these metrics. These metrics alone do not fully explain the quality of the saturated RGB effect color; evaluate the spectrum, power, and camera test together.
Behind the scenes from my own sets
The setup process for my colored light installations
Production and sets: Burak Bulut YıldırımThese images illustrate the lighting setup, model direction, and studio techniques behind the results in the portfolio.
The most common questions in the Quick App are about equipment, white balance, and the number of lights.
What is the minimum number of lights needed for a color light shoot?
A single light can produce a monochromatic result. Two lights are sufficient to separate the main subject from the background or to illuminate two edges in different colors. A third neutral light makes it easier to control skin tone, especially in portraits; complex setups require four or more lights.
What is the minimum equipment needed to get started with a home studio?
A basic DSLR or mirrorless camera or a smartphone, one or two light sources (a flash, LED, or powerful flashlight), colored gel or cellophane, and a tripod are all you need to get started.
What is the difference between RGBW and RGB?
An RGBW fixture features a true white LED channel in addition to the red, green, and blue channels. This channel produces a more accurate white that does not have a blue cast, resulting in more natural-looking skin tones; however, color accuracy depends on the device’s spectrum and calibration.
What should I set the white balance to in Kelvin?
There is no single required value. Turn off auto white balance and select a fixed starting point—5200 K daylight is a good starting point for results close to what you see with your eyes—shoot in RAW, and maintain the same value throughout the entire series. Different Kelvin values give different effects by shifting the gel’s result toward blue or yellow.
Can colored gels be used on LED lights all the time?
It should be used only with heat-resistant professional filters and under the temperature and installation conditions specified by the manufacturer. Do not place cellophane in front of continuous high-intensity light sources; if you do, maintain a safe distance and ensure proper ventilation.
Why do colors look washed out on the camera?
Ambient light may be washing out the color saturation; additionally, the light may be spreading too widely across the surface, or the white balance may be trying to neutralize the colors. Reduce the ambient light, shape the light, and use a fixed white balance.
When should colored gelatin be used in product photography?
Use this when you want to make the product stand out, during themed photo shoots, or when you want to highlight your brand colors. A background or lighting that complements the product’s color makes the product stand out clearly against the background.
What should I do if colored light distorts my skin tone?
Apply a gelatin-free, neutral fill light to part of the face or skin, or extend the colored light to the edge and background layers; make fine adjustments in post-production.
How long do battery-powered LED lights last on a full charge?
Depending on the power and battery capacity, it takes between about half an hour and three hours. For low-power models (30–60 W), the ability to charge using a power bank is a major advantage.
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