Painting With Light

[curt_kalkstein1]

<p>I seem to recall that when I saw this technique demonstrated during a workshop a few years ago the result was an unusual, velvety look.<br>

But, when I tried it last night, it didn't seem all that "different". I tried exposures of 30 seconds and of 6 seconds, but the look is pretty similar. But, I'll still ask: does the exposure time matter? Does the flashlight matter? Just how do I pull this off, please?</p>

<p> </p>

[patricklavoie]

<p>yes and yes.</p>

<p>a stronger maglite will take less time then a smaller one of course. I dont recall the exact math thing (need to ask a friend that specialized in lightpainting..) but it have to do something with 2 reading, shadow and higlight, plus light distance from subject.. he paint house, tree and things like that ; )</p>

<p>You should of course put your camera to a fix ISO, fix aperture, and use the bulb function to open and close your mirror when you decide for it.. you shouldtn have the same result with 30 and 6 sec.. if so, that mean that the camera is using a auto setting to give you the best result by compensating with the aperture or the ISO.</p>

[joseph_wisniewski]

<blockquote>

<p>But, when I tried it last night, it didn't seem all that "different".</p>

</blockquote>

<p>This is going to seem like a silly question, but...</p>

<ul>

<li>Do you know how to paint? </li>

</ul>

<p>Painting with light is exactly that, "painting". If you want a "velvety look", you have to know how to actually paint a velvety look. Where to paint in the highlights, where to not paint in shadows. Did you look at the scene and say "hey, I want to emphasize this, suppress that, blend the other?" Or did you just start waving a flashlight around?</p>

[curt_kalkstein1]

<p>I just started waving. Can you give me some suggestions, please?</p>

<p> </p>

[martin-s]

<p>The most crucial factor is that you keep moving around yourself as you paint. That will avoid any pronounced shadows and go a long way towards that smooth look you're after.</p>

<p>Never remain in the same spot just waving the light around, that will work out not much different than a single light source.<br>

Also consider softer light sources than your typical torches, their light can be too directional.</p>

<p><a href="http://www.lostamerica.com/">Lost America</a> has some great samples of the technique.</p>

[paul_norman_dicaire]

I like the maglite for lightpainting because the lightbeam width can be adjusted. You can soften the light source by

covering the flashlight lens with tissue paper. Be mindful of color temperature and exposure.

I don't think there are are any hard & fast rules to this. You'll get a lot of advice on here. Try everything. Keep what

works, trash what doesn't...

Happy shooting!

[steve_swinehart]

<p>Go to <a href="http://www.williamlesch.com/overview/painted-light/">this photographer's</a> webpage and see what can be done painting with light.</p>

[gulfbeach47]

<p>Question about the William Lesch website > <a rel="nofollow" href="http://www.williamlesch.com/overview/painted-light/" target="_blank">this photographer's</a>.<br /> What methods do you think he used to get the unusual colors?<br /> Adjustments in PP? HDR? Colored gels on his light source or combination of techniques? I do a little light painting but have never seen results like this. Interesting work.</p>

[steve_swinehart]

<blockquote>

<p>What methods do you think he used to get the unusual colors?</p>

</blockquote>

<p>William Lesch has been doing his painting with light work long before the advent of PS, HDR, etc. From the look of his work - long exposures, heavy colored gels, and hand held light sources. It's really not that hard to do with large, focusing flashlights. While expensive, a<a href="http://www.peakbeam.com/"> Maxabeam</a> would give all the power and run time needed.</p>

<p> </p>

[sjmurray]

<p>Check out this guy here on pnet and his website. One of my favorites.<br>

<a href="../photodb/user?user_id=526277">http://www.photo.net/photodb/user?user_id=526277</a></p>

[cjbroadbent]

<p>Doing it from inside the scene: I had a Hosemaster for a time (a couple of shots below), but any small light you can mask will do. You have to have a pretty good plan about main light source direction and the amount of fill to get the right mood.Stop right down and take plenty of time, dress dark and wear black gloves. Work close and imagine you are reproducing a source as big as a window. I do a widening spiral rather than zig-zags.<br>

Doing it from outside the scene: Hedler make a sort-of automobile headlamp spot which lets you get at far features. Keep it moving over the widest source area your arms can manage to have soft shadows. Do each feature from an equal distance or shorten the time for closer features. General fill needs a weak source like a little movie lamp. Keep the fill moving over a very wide source area somewhere above and behind the camera, avoiding the closer elements of the scene.<br>

Painting always works. The art is to make it look natural.<br>

<img src="https://lh4.googleusercontent.com/-Yi-Ld49c0x0/TL_7ZN4onDI/AAAAAAAAIDY/uuewaNeLwpU/s800/aceto.jpg" alt="" /></p>

<p><img src="https://lh6.googleusercontent.com/-8wnHk_0bdac/TUF4NaRzJkI/AAAAAAAAIDY/aYBdIC7cdzc/s800/hosemCropped.jpg" alt="" /><br>

<br /><br /></p>