Apr 07, 2011 — 5 comments
Have you ever looked at some of the amazing portraiture on the cover of Rolling Stone or Vanity Fair and wondered how it was done? You may not have heard of Mark Seliger, but you’ve certainly seen some of his work.
The above album shows the movement of a kayaker’s paddle through the water. Orlando’s calls these types of images “motion exposure.”
The light in this is a little too harsh for the photographer’s taste. Shaden recruits a fancy diffuser—a sheet of paper, in this case, which reduces the harsh light of the lamp. You can also use tissue paper or a pillowcase to diffuse the light.
We see a stunning portrait—maybe hanging on a wall somewhere—and we think, “Wow! My work doesn’t look like THAT!” Then we run out and spend thousands of dollars buying the latest equipment, books on photography lighting techniques, and so on.
Light painting combines the fundamentals of shooting images in the dark with the creative twist of using artificial light that almost raises to the level of painting. Needless to say, in order to understand light painting you first need to understand how to shoot in the dark.
Photography is an art. Art is subjective. The one most important factor necessary in photography is light—quality light. Without light, there are no photographs. So, if you photograph your subject—whatever your subject may be: person, place, or thing—in quality light, you are likely to create art that people will subjectively view as “beautiful.”
Almost anyone can be a photographer, but not everyone goes out of their way to capture powerful and moving images. For those who do, the journeys they find themselves on can lead to many out-of-the-way places.
Sometimes our hard drives become a mess of misnamed folders and misplaced images. We don’t know how it happens, but it does. Luckily, Lightroom gives us a few options for quick and easy folder discovery and organization.
“Flashy” looking photos, red eyes, and washed out subjects – a misguided flash in the hands of the wrong person can cause horrendous results. Some photographers avoid flash photography altogether, while others only use it when it’s dark, and there are few options available for lighting.
White sets the key light from above at 100 percent, creating a sharp, full light. The lower light (with an added diffuser) is set at 40 percent, which helps to fill in the spaces and create natural light fall on the model. To create distance and pull the subject off the background, a third Skylux lights the backdrop. White shoots at f/2.8, 1/100 of a second, and at ISO 200.
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