In this light painting video tutorial Chanette Manso shows us how she uses the 3 Foot Sparkle Fiber Optic From Light Painting Brushes to create Lilies made of Light! Check out the tutorial video and images below Chanette has created using this light painting technique. You can make these lilies anywhere even on the rooftops of New York City! You can see more of Chanette’s work on her Instagram Here and if you want to learn more about light painting in NYC make sure to check out Light Painting New York HERE.
If you are not following the Light Painting Photography of Maria Saggese you are missing out on some incredible and inspiring work. One particular style of Light Painting Maria has become know for her beautiful work with Fiber Optics creating images that are instantly recognizable as her own! I asked Maria if she would share some tips about these awesome works of art and she went far beyond that providing a full tutorial to share! Read on below for the tutorial and if you find it inspiring as I know you will, please make sure to tag #MariaSaggese when posting any images on social media you create using this technique so Maria can see what you are creating!
Light Painting Fiber Optic Tutorial by Maria Saggese
In this tutorial I am going to explain how to create beautiful silhouettes with fiber optic using Light Painting Brushes system. I will explain how I set up my camera and I will share my technique to create double silhouettes in the same frame. I will also share how to obtain an overlapping effect and a double exposure “evanescence” effect all during a single long exposure photograph!
Camera with bulb mode (or Long Exposure)
Tripod Remote or Cable Shutter Release
Fiber Optics + Universal Connector
Torch or Flashlight RGB Flashlight
or LED Flashlight with Colored gels
The tools that I use are the Light Painting Brushes Fiber Optics: There are two versions of the fiber optics a Black & White they both attach to just about any flashlight using the Universal Connector.
To change fiber’s colors I use a Led Lenser P7QC flashlight with 4 colors or the 10 color “Color Shine RGB Flashlight”. You can also customize the color’s fiber by placing some colored gels over any torch you attach to the fiber optics using the Universal Connector.
Set up is simple – just the camera on a tripod focused on the area where my model is.
To focus I turn on the studio lights, focus on the model with the focal length that I am going to use in my picture then I turn off the studio lights. After focusing with the lights on I switch the camera’s focus to manual focus, this will make sure the camera will remain in focus when the lights are off and starting the exposure.
The camera settings that normally I use are:
ISO ranging from 200-400
White Balance: Daylight
After starting the exposure, I go behind the model, I turn on my flashlight moving the tips of fiber with a slight movement to outline the figure as a “cloud” or an aura. Starting from the model’s face I slowly outline all parts of the body all the way down to the feet. The most important thing is not to paint with the fibers behind the same area several times, otherwise you will not have a defined silhouette.
To get more cloudy or smoky effect I increase the speed of painting with fiber even light painting in front of the model as seen in the image below.
How to create double silhouette
During the same exposure, I first create a silhouette using the techniques described above with one color using the fibers, then I turn off my torch. The model has to move to a new position to reflect on the opposite side. I choose a different color (or the same) to create a second silhouette that will overlap with the first one created.
To create my double exposure effect I first create my silhouette and then I turn off my torch. Then without a model in the scene I illuminate the background or, in this case, the bed, to obtain an overlapping and “evanescence” effect during the same exposure.
Settings for this image: 54 Second Exposure, F/13, ISO 400. Created using the Black Fiber Optic.
White or Black Fiber?
Personally I love the white one, because the fiber is completely illuminated and not just the tips, with this I get a more nuanced effect, while the black one has a more contrasted and “Scratched” effect. The result is a little bit different for each tool so you can try both and choose your favorite effect.
Settings for this image: 35 Second Exposure, F/13, ISO 200. Created using the White Fiber Optic.
If you try this technique please share your work on Facebook and Instagram using the hastag #mariasaggese
Light Painting Tutorial, How To Light Paint a Light Man
In this Light Painting Photography tutorial Jason D. Page shows how to create a Light Man, or Woman, using a simple technique and tools from the Light Painting Brushes system. This is a technique that can be done when shooting alone or you can use a model to make it even easier. By simply tracing yourself or your model with light during a long exposure photograph you will leave a illuminated light being imprinted on your film or cameras sensor. An easy technique to help create extraordinary images!
Light Painting Photographer Darren Hopkins has been doing some amazing things using his plexiglass light painting tools. The colors and light textures he has been producing are simply beautiful. I asked Darren if he would share some of his secrets with us and he provided this excellent light painting tutorial showing exactly what he is using to create his imagery.
Plexiglass Blade Light Painting Tutorial by Darren Hopkins:
In this tutorial I am going to explain how to get different textures and colors from the plexiglass blades, using simple items to customise them. I will also explain the camera settings I use and the techniques that work for me.
Equipment you will need:
Camera capable of bulb mode (or Long Exposure)
Remote or Cable Shutter Release
Plexiglass Light Painting Attachment
Torch or Flashlight
Sellotape or Transparent Tape
Customising the Blades
The tools that I use are the Light Painting Brushes Plexiglass Attachments and Patrick Rochon’s Liteblades, customised with colored gels, masking tape, sellotape and cling film.
With the Light Painting Brushes, I cut strips of colored gels to go around the edge of the blades and attach them with the sellotape. Using a combination of different colours on the edges to give an interesting effect when waved. I will also half cover some of the blades with extra large masking tape which gives a smoky/milky effect and is a nice contrast to the vivid edges.
I do a similar thing with the Liteblades. Put little pieces of coloured gels in the connecting part of the blade, again half cover with masking tape and use cling film around the base of the blade.
Set up is simple – just the camera on a tripod focused on the area where you will be waving the blades.
To set focus you turn the lights on. Mark the area where you will be working. Zoom in pull focus (either on manual or auto focus) once you have the focus set switch the camera to MANUAL focus and then pull back out and frame the shot. Switching the camera to manual focus will make sure the camera will remain in focus when the lights are off.
The camera settings I use are f/11, bulb mode, white balance daylight and ISO ranging from 100 to 320. I usually keep the settings the same and adjust the ISO until I’m happy with the results.
The lens is set at about 28mm for most of the shots (full frame); I stand about 1.5m – 2.0m away from the camera and use a remote to release the shutter.
There are two torches work with Partick’s Liteblades they are the Klarus XT12 and RS11, I use both of them. The Klarus torches have a maximum lumen output of 930 lumens, I sometimes use them on 1/2 power mode to get a pulse width modulation effect.
With the Light Painting Brushes Plexiglass you can use just about any torch attached via the Universal Connector. With the Light Painting Brushes I use the Klarus lights and I also use the LED Lenser M7 with a 400 lumen output.
The technique is trial and error but I’ve found some movements give more interesting results:
Dragging the blade from left to right, swirling in the middle, gives a tidier look and can produce nice loops with different colors.
I also hold two or three blades in one hand for these techniques, which gives more texture and interesting patterns as the light from one blade passes through another. Using the strobe mode on the torch also adds a different look.
Recently Photographer Erik Christian shared these really cool Light Painting Portraits that he created for the Varsity 845 All-Star Basketball teams. To create these images Erik used a mix of constant light covered with colored gels matching the team’s colors and the pop of a couple of off camera strobes to freeze the motion of the athletes. Check out the images and the behind the scenes video below showing just how these perfectly executed Light Painting Portraits were created.
This light painting photography tutorial shows how to create a light painting spirograph or physiograms using tools from the Light Painting Brushes system. Spirograph are complex looking light painting that are really easy to create. This is a great project for people just starting out with light painting, also a excellent project for teachers that are interested in sharing the light painting art form with their students. Spirographs are fun and easy to make.
Become involved in the Light Painting Brushes Movement!
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