Light Painting
By Matthew Winship
30 May 2007
I discovered light painting when I took photography I in college. It proved to be a (pardon the pun) most illuminating experience. Ever since we turned in that assignment I have absolutely been fascinated by it.
Light painting consists of a pitch black (or extremely dimly lit) room, a camera, a light source, and a subject.
Ideally, a digital SLR would be perfect for this type of shot, especially if this is the first or second attempt. The ability to immediately see the results will prove an invaluable tool in judging the amount of light to use and/or how long the shutter should stay open. Generally I use ISO 800, however I've also had decent results with ISO 400. A very large part of light painting is experimenting, and it is no different with this.
Once the subject is situated however you like. It is very important to frame the shot and make sure the focus is correct. I usually turn on an overhead light then focus the shot.
In a completely pitch black setting the shutter can be open for as long as needed. When I shoot in a garage that blocks out all light I can go as long as thirty seconds (however I rarely need that long). As long as there is no light, nothing will show up in the finished shot. This is part of the reason why I love light painting so much: I have complete control on what shows up and what doesn't.
When the shutter has been opened, move the light source (most commonly a flashlight) across the subject, keeping in mind that only what the light hits will show up in the shot. The longer that the light stays on the subject, the more light will accumulate on the subject making it brighter.
This opens the door for a variety of effects and styles to be used. Slight variations on where the light is placed and how it is moved can drastically change how the final shot looks. The same pose can take on several different tones and looks with just a slight change in lighting.
Depending on the desired effect the "painter" can use different lighting methods. Keep in mind that different flashlights can produce different kinds of light at different strengths.
I do most of my light painting with a small Mag-lite flashlight. The Mag-lite provides a moderate amount of light, and for the most part is white. I also use a small floodlight that provides a strong bright white light and a flashlight with interchangeable color filters (red, blue, green, and star burst).
Working with stationary objects is relatively simple once you have figured out how much light to use and where. However working with people proves to be more difficult.
As long as the shutter is open, and the light is being used, the subject must stay absolutely still. Any movement while the light is on will result in blur. This in and of itself can be an interesting effect, however it can be very disappointing to have an amazing shot, only to be marred by blurred edges.
In addition to using flashlights to illuminate the subject, they can also be used to trace and enhance the shot. Any area where the light is directed squarely at the camera will show up as a bright line. It can prove to an extremely unique effect. However, keep in mind that if the flashlight is directed towards the camera, additional light will be needed to illuminate the subject.
Light painting can provide amazing results, and is a cheap and easy way to provide variety in the type of shots you produce.
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