It must be Autumn because last meeting we did a light painting session courtesy of Myk Garton and guest light painter Tony Cullen – many thanks guys. Every time we do this there is something new and I will admit that it is one of my favourite things to do photographically. Attendance was high which proves its popularity with other club members too. This was the introductory evening and we will be doing some more advanced techniques on December 1st. Of course light painting isn’t necessarily seasonal, but the ever shortening days this side of the Winter Solstice means that available light is at a premium. The “Season of mists and mellow fruitfulness” (that man Keats again) means a lot more than landscapers getting a lie in. The light, generally, has a quality of its own because of the relatively low angle of the sun to the horizon. Problem is there isn’t a lot of it.
So, provide our own. This is as close outdoors as we get to the degree of control of light in a studio. The big difference is we make benefit of the dark. The contrast levels are extreme, but that is a virtue not a vice. The canvas is light on dark but in a more high contrast way than we see in daylight, where we could argue that the opposite is true (wrong as everything we see is via reflected light, but since when did wrong prevent an argument?). Strobists use flash guns to recreate the flood of light which they can control the direction and beam, with a white balance of its own. When drawing on the black canvas, with torches, coloured lights or even fire, the colour balance doesn’t tend to be a big consideration, at least in the sense of it being something that needs correcting. Painting a scene in light as opposed to drawing a scene with light presents different technical challenges, but can be done with the same kit and a bit of patience. I say a bit, oftentimes a lot of patience.
In fact there are a number of different ways to think of light painting, and where we start, the way in which we are thinking of the images we want to capture, determines the outcome more than anything else. Yes this may come under the heading of “Well, duh” but any technique has strengths and weaknesses according to the situation. Selection is the key. The first decision is are we lighting the subject or creating an effect? Our desired look will determine the way we use the lights and the sort of lights we use. Again, we may say “Duh”, but it’s surprising how hard we can make the job by not prepping for a final outcome in the first place. We might be combining both, after all. What about spontaneity and experimentation, we say? Much better to have an idea to execute and vary than to just turn up having watched several hours of YouTube videos with a load of kit and a vague idea. We may be technically proficient but that is no good if we are subject deficient – the difference between a body with a camera and a photographer.
The point to start, where when who and how because that is going to dictate what we can and cannot do. Use a familiar or scout a location in the day light. Decide what the subjects are likely to be and what kit we are going to take with us. If unfamiliar with orbs, zoom bursts, camera rotations, double exposures and the like the answer is “Should have been at club”. That aside, the first thing is, if not in total darkness or very near, determine what the level of ambient light is. This determines the time we have to paint in. If it isn’t a factor then fine, open the shutter for as long as it will go or as long as needed, then set the camera pre-focused and to manual – this meeting was about familiarising people with their equipment in those modes in order to capture those sort of effects.
If we want a basic explanation of light painting it is that it is long exposure photography. In the dark. The meter is useless without some level of ambient light and the length of exposure is dependent upon what we want to paint in and what we are painting with, that is to say, in the practical sense, it is going to be the product of experimentation. The light gathering capabilities of the sensor are going to be tested, select the lowest ISO to help keep the noise to a minimum (remember boost the signal, boost the noise and that is what you do when we up the ISO). We are going to need a tripod and, a personal preference, a remote shutter release.
Light trails, using moving lights – the most popular seems to be vehicle trails which, let’s face it, aren’t too difficult to come by in a city of 400,000 people – are also simple to set up and to execute. 8 to 10 seconds, ISO 100, F8 on a well lit street, as a starting point towards getting a reasonably exposed photograph overall and, as long as the vehicles are moving even relatively slowly, then some interesting effects can be captured. Vary the angles, either by setting the camera up more obliquely to the traffic than at a right angle, or find a bend or a roundabout to get some swoosh into the picture. Zooming whilst the shutter is open also does interesting things to the trails often setting them off at angles we wouldn’t expect and rotating the camera through 90 degrees during the exposure, as long as we keep the axis constant, can do interesting things to lights in the background (as alluded to above).
I know that is a cliché but nonetheless I am going to repeat it. There are so many variations that we truly are only limited by the imagination and for once, it doesn’t have to be at any great expense. Yes we can spend an inordinate amount of money on these techniques but actually experimenting with the basics will yield some fine and interesting results. I, for one, am really looking forward to part two of our light painting sessions.
Apologies for the non showing of the last round of the ROC but I am having technical difficulties which are proving rather entrenched. There are also lasting problems with posting to the club’s Facebook Page via the blog. Ah well, such is life. Last meeting was all about light painting and our thanks go to Myk Garton and Tony Cullen [EDIT not Cooney as originally published] for their efforts and Megan Gearing for being the model once again. Definitely a fun night.
Essentially light painting takes advantage of the camera’s ability to take long exposures, it’s relatively limited dynamic range, a dark background and some bright lights either as illumination on a subject or as a subject themselves. It is not an expensive thing to set up and you can get some striking results relatively easily. Equipment is a tripod or place to secure your camera preferably capable of being set to fully manual (Bulb) and, optionally, a remote shutter release, a light source and some darkness. You have a variety of options what you do with the light, depending upon what the source is, from outlining everyday objects with light using a single LED all the way up to multiple exposure big item, multiple flash set ups, cityscapes and landscapes. It is one of those things that really does apply to pretty much any subject.
Light Painting is all about the what copious amounts of dark do to light, colour and contrast when exposed on a digital processor or film. Given the amount of trial and error it really does play to the cost advantages of digital and even then there are time savings to be had through simple things like turning off your camera’s long exposure noise reduction until the final shot, (which will halve the exposure processing time) or working out exposure with the 6 stop rule. This is based on a fairly simple piece of mathematics and lies within the exposure triangle. If you set your camera’s ISO to 6400 whilst you get the shot composed and exposure sorted, then, using the metering in seconds recorded in the test shots, reset to ISO 100 and expose in minutes, e.g. a 10 second ISO 6400 shot is a 10 minutes at ISO 100, a 4 second exposure at 6400 is a 4 minute exposure at 100 ISO etc. ISO 100 is six stops slower than ISO 6400, hence the name, and it works for the identical aperture setting.
I would turn the long exposure noise control back on when all the groundwork has been done (and leave it on as default) because it works to a quite significant advantage in the quality of the final image. That said different sensors have different sensitivities and you may well get 5 or 10 second exposures without significant noise intrusion, and that is best at low ISO’s, though I don’t know of any digital sensors to match The Kono! Donau’s film speed of ISO 6 (marketed as ideal for light painters) from Lomo (though at £27 for three rolls I am in no hurry to find out). It’s a relatively simple thing to check out where your camera starts to produce intrusive noise using test exposures at minimum ISO and worth knowing for your camera. I have seen the figure of a 30db Signal to Noise Ratio as being “acceptable” to “professionals” – frankly I have no idea, though DXO measure these sort of things. What is acceptable is subjective and individual. Go and find out for your camera.
Of course photography is Greek for painting with light, but, as defined above light painting makes more of the dark. Light painting scenes have, by design, higher contrast than will be found in most photographs and will also, most likely, require some post production to fix light leaks or darken weakly lit areas. The fact that we are dealing with opposite ends of the histogram actually helps as getting rid of distracting background detail can often be achieved with a simple adjustment of the contrast slider. Yes that is a broad generalisation because every frame is different, but with the single frame light painting the reduced colour palette and high contrast actually don’t often require much fiddling around.
Not that some people are content to leave it at that. The techniques can usefully be extended from drawing with a light against a very dark background, through illuminating an object or objects via a single light source, to full blown composites of hundreds of frames of sometimes very large objects. All can come under the light painting banner, and can, I suspect be labelled on a scale from interesting to obsessive, depending on where you stand (and what equipment you have access to), but there is another relatively cheap and easy-with-the-right-techniques that you can access. Light trails. In a lot of ways we have already talked about this earlier in this post, when we talked about single lights, but you have many options in making those. And don’t forget star trails, vehicle lights, trains, boats and planes – it doesn’t have to be you in charge of the lights, though that helps in organising the outcomes. Light painting is a fine way of capturing some vibrant images, give it a try.
N e x t M e e t i n g
Returning our visit earlier in the season we welcome Hanham Photographic Society.