Seriously though, I'm looking at a copy of Joseph Meehan's otherwise
excellent book on using filters, and according to his chart on using
filters just for fluorescent compensation, a working pro handling all of
the 7 (yeah, count 'em) different types of fluorescent lighting would need
a battery of filters likely to exceed the size of the photo bag just to
handle the blasted flour. lighting. I'm quite, quite sceptical of that.
Which is why pros use gel filters when accuracy counts (7 take up the
space of one glass). Yes, if you're shooting indoor architectural you
had better get the color balance right to keep picky clients happy.
The FL filters are a bit better than just a 30M but still only a
guess. Color meters are really helpful.
Other options (some already mentioned) are to replace the bulbs
w/daylights, put filter tubes over the bulbs (cheaper), filter the
entire window front, blackout the windows and double expose, shoot at
night, turn off fl lights and light w/flash or HMIs, shoot B&W or
color prints (options of last resort but probably good enough in this
case).
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