Yeah, actually the first one for me too. The second one is interesting. There are lots of details that appeared out of focus in the first one. How does light painting work?
I have a little corner "studio" where I manage the ambient light to not show when I take a test shot at my desired f-stop and a 2sec. exposure. I focus with some overhead light, shut it off and use a small penlight to, literally, paint the subject with light. Often I will use a "snoot' to limit the spread of the light - a piece of black construction paper rolled up into a cone - or a balloon or ping pong ball on the end of the light to create a soft, diffuse light. Then it's all about playing with exposure times to see what works best. I often have, like ICM, dozens of exposures per set up - I shoot tethered so I can see the immediate results on my 24" monitor. Sometimes I like the softer, darker image and at other times I want to see more detail & color in the subject.
The first one for me
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DeleteYeah, actually the first one for me too. The second one is interesting. There are lots of details that appeared out of focus in the first one. How does light painting work?
ReplyDeleteI have a little corner "studio" where I manage the ambient light to not show when I take a test shot at my desired f-stop and a 2sec. exposure. I focus with some overhead light, shut it off and use a small penlight to, literally, paint the subject with light. Often I will use a "snoot' to limit the spread of the light - a piece of black construction paper rolled up into a cone - or a balloon or ping pong ball on the end of the light to create a soft, diffuse light. Then it's all about playing with exposure times to see what works best. I often have, like ICM, dozens of exposures per set up - I shoot tethered so I can see the immediate results on my 24" monitor. Sometimes I like the softer, darker image and at other times I want to see more detail & color in the subject.
DeleteLove the first one withthe soft textures but the 2nd has nice detail
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