JD's Lighting Workshop

JD Mitchell, with Hammond Communications, put on a great Lighting Workshop a couple of weeks ago. Among the tools he had at his disposal were a number of lights and backdrops. These three images illustrate the same model with very different backdrops and some lighting changes. This first one uses the main front light, with a large soft box, placed low. We used a rear light placed high to provide some rim lighting. Exposure in Manual, 1/125 sec @ f/5.6, iso 100 (85mm f/1.2 lens)

This second image uses a little higher intensity light, again using a large soft box to diffuse the light, and a light gray backdrop. An overhead hair light soft box and a reflector hand held under the model's face was also used. A fan provided the movement. Exposure in Manual, 1/125 sec @ f/11, iso 100 (85mm f/1.2 lens)

This third image is taken under the same conditions as the second, then adjusted in Lightroom to achieve a high-key posterized effect. The three photos illustrate the dramatically different results that you can obtain with just a few adjustments.





Pocket Wizards were used between the camera and the main light. The main light then acted as a master for the other slave lights. Several people were needed for the second shot, to hold the reflector, the fan, and of course the camera. Model: Hayli Alyce, Photos: MW

Painting with Light

Life Magazine Classic Photo of Pablo Picasso. The picture was shot by photographer Gjon Mili in Vallauris, France in 1949. The photo shows us Picasso in a different but interesting and original setting.






My daughter, Sarah, painting with a small flashlight. This fun little idea can have some very interesting real world applications. Of course, you have to learn to write your name backwards!

When you think of "Painting with Light" you might think of spreading a light beam ONTO an otherwise dark subject. But, if you let the actual light do the story telling, the results can create a new perspective.

This is a simple technique using the "Rear or Second-Curtain Sync" setting on your flash or as a custom function in your camera if using an older flash. Second-Curtain Sync forces the flash to fire at the end of the exposure rather than at the beginning. In a dark environment, use a tripod and select a long Shutter Priority, or "Bulb", exposure to create a dramatic effect.

Imagine the many subjects that could be enhanced with this technique. Perhaps a Bride and Groom on the dance floor with a few light trails right before the flash, the departure from the reception with some sparklers showing some movement right before the image is frozen, a stage production.

Use your imagination, and your camera settings, to put your vision in a new perspective.