What if I told you that to make shots like this I did not use any expensive gizmo or professional lights,
but it cost me just one euro and fifty cent?
The management of light is everything, or almost, to photography, but spotlights and professional flashes
are not for every budget, are not always easy to use and require a minimum of
space to be positioned properly.
If you are passionate about studio photography, still life and stuff, there is
a fun technique that you should know.
It's called light painting, or light brush strokes, and it consists in using literally
a light source such as a paintbrush to lit up a targeted
area of the composition.
I used it to create warm and soft lights on shots like this, where
there appear to be many small spotlights with soft shadows, each focused on a different
place of the pic.
But there are also those who use it for more results psychedelic, as this beam of light.
Some friends asked me how I got these effects, that are simple but impressive
if you think you do not need any professional or costly accessory to obtain them, so
here we are.
All you need is a camera, any camera, just make sure it has the ability
to be set in manual mode, a tripod, preferably a remote control for shooting
at a distange, and a small flashlight.
I took this for one euro and fifty, but your smartphone's flash will also work.
In this case, the technique would be virtually free.
Before you start, you should know that The light painting needs a few experiments.
Perhaps on the first time you will not get the desired results, but the rewards will come.
First, we create our composition.
I chose a common basket of fruit, a simple jar to enrich the scene and
nothing more.
Start with simple, opaque objects, which do not reflect the light, then you will experience
with more complex compositions.
A good idea is to use large objects, so the light beam may be directed
on the details and it will not spill all over the surface.
The key in light painting are long exposure and absolute darkness.
By itself, the photo must appear black, and only what we will light with our
torch will be imprinted.
I set to 10 seconds per shot, so I have plenty of time to move and illuminate
what I have in mind.
A good idea is to keep an extreme diaphragm, a depth of field that tends to infinity:
This will help us to ensure that the shot requires even more light.
Without torch, the photo must seem completely black, dark.
So, f22, ISO to a minimum, we turn off the lights and we close the windows.
For now I'll keep the lights lit the room to show you what I do with the torch, then
you'll see also the live operation, with the lights off.
First I designed the mentally My photography.
I want my main light, softer, to arrive from the right, and I want a back light
from left, illuminating in a harder way the edges of the fruit, to detach it
better from the background.
I'll start from this one.
With the camera firmly on the tripod and after disabling any type of electronic stabilizer
to prevent that the movement of the Torch send him into a tailspin and make blurred photos,
I start shooting with the remote control.
I have 10 seconds to trace the outlines of fruit, trying to reconstruct the beam
light of a direct spotlight focused there, from behind, close.
Then comes the right side.
I shoot and enlighten more from a distance for a more diffused light, I move a bit 'more
to soften it and I try to dwell on parts that I want to come out more, so
they appear more three-dimensional, just as the fruit or the side edge of the bowl.
I remind you that we are in complete darkness, so the background will come out black.
I used a cloth to avoid involuntary refractions, but now I may want to use that
cloth as a background for the photo.
I shoot and I light, I go around to soften all the folds, and I do come out
a beautiful grayed.
If I do not like what background, I can use a little trick: I remind you that, in the picture,
we see just what we strike with our torch.
So if I take a paper sheet and I carry it around behind the composition while pointing my light at it,
This will give a unique soft background throughout the area.
I like much more this effect.
I do not have to worry if the torch entered in the field while shooting.
As you can imagine, the torch will leave trails in the shot, that are what you saw
pictured at the beginning of this video, around the mocha.
However, remember that everything around is black, so I can always delete those trails without
compromising the shot.
I must however make sure that my flashlight never ends behind an object, or
the trail will overlap the edge and the shot will be thrown out, if
My intention is not to keep the trail in final photo.
The rest of the work to be done on the computer, But first I'll show you the actual session filmed,
while the camera takes the true photos that we will use to make up our
final shot.
For this composition I made only three shots, but I could be wanting to do even more,
and then select the parts that interest me in every shot.
I open them all as layers in Photoshop.
In this one we have the main light, that Right.
Here's the one from behind, to the left, and this is the background that I chose.
As I said, I want to use just some parts of each shot.
For example, some light spills might not convince me in my backlight shot,
if I want more contrast, and I will simply delete those parts with the eraser.
But we still need a black background, so I add another level all black, as a
background.
Now I set the levels' fusion as "Lighten".
This naturally brings out the more luminous parts of each shot.
Now I just have to work up to decide which parts of each shot I want
to keep and which I have to delete.
This part goes to tastes, according to the desired effect.
After retouching the levels and colors, this is my result.
The possibilities of light painting they are virtually unlimited.
I can use it to invent strange shaped light that do not really possess,
or to play with colors, or I can use the beam of light itself to draw in the air
or over objects, for example using a laser instead of the torch.
All you need is a basic knowledge of how light behaves in a photo shoot.
As often happens, it's not a camera or an expensive accessory to determine a
good shoot.
It lies in how you know what you do, how you master the foundations of
photography and lighting: this is were the photographer works, not the megapixels do.
After that the only limit really is your imagination ... and all for one euro and fifty!
Subscribe, share this video and leave me a like if you found this little experiment
useful.
Meanwhile, tap on the video that intrigues you more if you want to see some of my work.
Come on... pick one!
I can not believe you're still staring an immobile screen!
Ok, see you soon!
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