Category Archives: Light painting

Light Painting Dancers: Emiley and Katie

I wouldn’t want to do a photography session with dancers without some light painting. Having multiple people in the image is always a challenge. Sometimes you have to light paint one subject and ask them to move out of the frame before light painting the other one. It wasn’t the case this time, as I was able to get in the best position to light paint both dancers without the other one getting in the way.

Light painting two dancers in the Edinburgh College dance studio

It is easier for my subjects to stand still while I light paint them if they have something to hold on to or an object to lean on. Hence the bar and the chair.

Light painting two dancers in the Edinburgh College dance studio

In a portrait, I usually like the subject to make eye contact with the viewer, i.e look at the camera. In this case I wanted the image to look like the dancers didn’t know the camera was there.

I like the “dancer at the bar” theme and I’m always trying different compositions. It was no different this time.

Light painting a dancer in the Edinburgh College dance studio

These kinds of poses can be tricky to frame, depending on the layout of the studio. Nearly all dance studios have mirrors, which is wonderful as I love reflections.

In the second photo, I incorporated the curtains by changing my camera angle, for a slightly different look.

Light painting a dancer in the Edinburgh College dance studio

Somehow, I like this composition better than the previous one. What do you think?

Dance Photography at Dance for All: Kirsty

A while back, I met with Kirsty for a dance photo shoot at Dance for All, on St Stephen Street in Edinburgh. The main studio was a little different from what I was used to as it was surrounded by mirrors and windows. Mirrors are a real challenge when lighting a subject, and also limit your shooting angles since you usually don’t want the photographer to appear in the shot.

Dancer at Dance for All, Edinburgh, lit from both sides and slightly behind

I asked Kirsty to look in the direction of one of the lights, in order to avoid nasty shadows on her face. I loved the lights in the background and I think they really add to the composition of this image.

In the photograph above, I deliberately underexposed the background to hide the clutter in the studio. I had two speed lights on the left and right of Kirsty, slightly behind. This is one of my favourite lighting set ups.

Light painting of dancer in front of mirror at Dance for All, Edinburgh

I chose to warm the colours in the photograph to complement Kirsty’s top and shoes and provide good colour contrast with her blue shorts.

As the studio could be made dark enough, I couldn’t resist doing some light paintings as well. I first tried a variation of my ‘lone dancer and the mirror’ image, with Kristy turning her back on the mirror rather than facing it. I added a bit of ‘grit’ in Photoshop and I’m quite pleased with the final result.

Light painting a dancer on a chair, facing away from the camera. Picture taken a Dance for All, Edinburgh

I really like this pose, but next time I’ll make sure one can see the dancer’s hands

I had only done our last set-up once before, and I therefore was looking forward to getting some more practice. In hindsight, I should have asked Kirsty to wear something more colourful, as the black clothing doesn’t provide enough separation from the black background, in my opinion.

 

Light Painting Dancers Chanelle and Charmagne

I’ve been light painting dancers for some time now, and I believe I have honed my technique for a few set-ups, as in the ‘lone dancer at the bar’ one you can see below.

Light painting dancer at the bar in front of mirror. Dance Base, Edinburgh

I really like this set up and most dancers like it too. The reflection in the mirror adds visual tension to the image.

Light painting dancer at the bar in front of mirror. Dance Base, Edinburgh

The challenging bit of doing such a light painting is getting the back light (highlight rim on the hair) right. You’ll definitely know what I’m talking about if you try it.

The light painting technique gives my images a distinct look that helps the photographs stand out amongst the deluge of pictures we are exposed to every day. I can therefore give my clients an edge in getting noticed.

I’m always looking to expand my light painting repertoire. It is quite the obvious step to experiment with light painting two people instead of one.

Light painting two dancers at the bar in front of mirror. Dance Base, Edinburgh

Eventually, I figured that the best way to light paint this set up was to first light paint Chanelle (in front), then ask her to move away so I could light paint Charmagne (at the back)

Usually, I ask my subjects to stand against something, sit on a chair or hold on to something firm, as it helps them stand still while I light paint them. During that light painting session, we experimented with removing any of these ‘helpers’ to see what happens. The light painting session was nearing its end and I knew I already had some good shots. Under these circumstances I like to try something I’ve not done before, to see what happens. Chanelle and Charmagne held hands as they stood away from any walls or chairs.

Light painting two dancers standing  in the middle of the Dance Base studio while holding hands

I left the pose up to the dancers as it is their domain of expertise, while I concentrated on the light painting.

As could be expected, without anything to lean on, both subjects moved more during the light painting than what I’m used to. But thanks to the uniform dark background, it was relatively straightforward to fix this problem in Photoshop. The next step is for me to figure out how to do that with a more detailed backdrop. I look forward to trying this out.

 

 

Light Painting a Dancer in Stockbridge: Juan

About a year ago, I had plans to do a light painting session in Stockbridge, Edinburgh, with singer/songwriter Anna McLuckie. Unfortunately  we had to switch to an indoor location due to very poor weather. In a way it was a blessing because the pictures turned out great (you can see them here). But it was also a shame because I really liked the location we had picked for the shoot, McKenzie bridge.

Light painting of dancer framed with one arch of McKenzie bridge, in Stockbridge, Edinburgh

Framing within a frame is a favourite composition tools of mine. I couldn’t resist framing my model with one of the arches of McKenzie bridge.

Interestingly, dancer  Juan Barton had expressed interest in my personal light painting project and in Stockbridge as a potential location for the shoot. McKenzie bridge immediately came to my mind and we quickly agreed on the location.

Light painting of male dancer wearing a suit and framed with one arch of McKenzie bridge, in Stockbridge, Edinburgh

I really liked the metal gate and I wanted to reveal it by putting my subject on the right side of the frame.

Because of my previous attempt at shooting there, I already had a number of ideas for photographs, so we got started right away. I really liked this arch and the metal gate, not only for the elements of design they presented but also for the light painting possibilities. We did three poses before moving on to the next set up.

Light painting of male dancer wearing a suit and framed with one arch of McKenzie bridge, in Stockbridge, Edinburgh

The first two poses above would not signal to you than Juan is actually a dancer. So for the last pose with this set up, I asked Juan to assume a more dancer-like stance.

I always ask my subjects to bring a variety of clothes, but typically leave the precise wardrobe choice up to them, although I do stress that I like colourful outfits.  When Juan mentioned he had brought a set of hot pants and a red boa, I wasn’t quite sure what to expect!

Light painting of dancer wearing jeans hot pants and a red boa at McKenzie bridge, Stockbridge, Edinburgh

It was a good thing the location was relatively secluded, as we would have likely drawn a lot of attention given Juan’s outfit and the rather chilly weather.

Since the shoot took place in November, I had to do these last two light paintings quite fast as to not end up with a frozen dancer!

Light painting of dancer wearing jeans hot pants and a red boa at McKenzie bridge, Stockbridge, Edinburgh

I prefer the first pic of this series, but Juan chose this one as his Facebook banner!

Light Painting a Dancer: Kenna

In Edinburgh, the Royal Mile is the street connecting Edinburgh castle to the Palace of Holyrood, the official residence of the Queen in Scotland. Photographically speaking, the Royal Mile and the areas surrounding it offer great opportunities.

light painting of model with brick columns, with blue background

Lines, shapes and texture. Some of the elements of design I look for. Adding colour with creative use of white balance (tungsten) to add colour contrast with Kenna’s purple top.

Kenna and I walked about quite a bit to scout the areas around the Royal Mile. Then I spotted a set of columns near St Giles Cathedral. Lines, shapes and textures aplenty, so I knew there was a photograph there. Because of Kenna’s purple top, I decided to use the tungsten white balance to give the stones a definite blue cast, to provide good colour contrast.

Light painting of model in front of St Giles cathedral on the Royal Mile in Edinburgh, Scotland

The entrance of St Giles Cathedral on the Royal Mile is another location replete with photo opportunities.

We didn’t have to move far for the next set up. The stairs to the entrance of St Giles Cathedral is a location I spotted way back then as I was taking an online photography course.

Light painting of model in front of St Giles cathedral on the Royal Mile in Edinburgh, Scotland

The vertical composition better showcases (in my opinion) the lines and shapes of the background.

As Bryan Peterson, a photographer I really admire, is fond of saying: “What is the best time to take a vertical photograph? Right after you take the horizontal”.

Light painting of model in a close by  the Royal Mile in Edinburgh, Scotland

I really like the urban feel of this building, with the pipes and textured walls.

One of the great lessons I learned from top class photographer is to “work your subject”. Usually, I have some limited time at a given location with my subject, and I therefore like to revisit locations I have used before. That give me the opportunity to work my subject some more. Since I learn new things in between visits, that gives me the opportunity to improve upon the photographs previously taken at that location.

Light painting of model in a close by  the Royal Mile in Edinburgh, Scotland

I prefer this shot over the previous because of i) the pose and ii) the sign over the door is better “light painted”

I had used the building in the above photograph in a shoot with another dancer, Jennifer. I wanted to try a different composition and new poses with Kenna. The picture above is my second favourite photo from the shoot. My favourite picture from the day is the first picture in this post.

Light Painting an Interior

While surfing the web, I came across an amazing real estate photographer based in Los Angeles, Mike Kelley.

His style has evolved a bit, but at the time I came across his work, he was using a form of light painting to create stunning pictures of interiors and architecture photographs.

colourful living room light painted with speedlights

I used a speedlhgt to give some accents of light in this colourful interior for a more pleasing look.

As a scientist, I value intellectual curiosity very much. As soon as I saw Mike stunning work, I wanted to try my hand at light painting interiors. I’m fortunate to know a good  interior designer, and I offered her free photos if she could give me access to one of the locations she designed.

colourful living room light painted with speedlights

It was not possible to capture all the elements of the room with just one shot, so I took another photograph from a slightly different angle to showcase the fireplace.

I had about one hour to set up and light paint a living room with my speed lights. I really do like the look of the light painted interiors and definitely plan to gain more experience with this kind of photography.

Light Painting a Dancer in Leith: Lucy

Leith is a district to the north of Edinburgh, and the area is replete with photographic opportunities. In particular, the surroundings of the port of Leith, the largest deep water port in Scotland, provide a number of good locations for photo shoots.

Light painting of dancer, standing, with a blue steel bridge in Leith, Edinburgh

We started with a simple pose. I had to move in and around the bridge to light paint her face and then her body and the background.

I had noticed ‘the blue bridge in Leith’ a while back, but hadn’t had an opportunity to shoot there until I met Lucy, a dancer who happens to live nearby. I like the colour (blue is my favourite colour), lines, shapes and textures of this location. I’m sure I’ll go back for other shoots.

Light painting of dancer, sitting down, with a blue steel bridge in Leith, Edinburgh

I try, as much as possible, to shoot both vertical and horizontal photographs. I asked Lucy to give me an interesting pose I could frame horizontally.

I had asked Lucy to wear colourful clothes, and I was delighted to see her outfit. And in hindsight, her hair colour provides a nice contrast with the blue background.

Light painting of dancer, sitting down, with a blue steel bridge in Leith, Edinburgh

I was worried that in the previous photo, Lucy’s left hand would be a bit too prominent in the frame and that the camera hadn’t properly focussed on her face. So we did another light painting with this set up and a slightly different pose.

Dancers are very comfortable with their body, so I let Lucy try a number of poses. Apart from the first photo above, it was clear to me I would not have gotten the same type of photographs with a model rather than a dancer.

Light painting of dancer, standing and bending backwards, with a blue steel bridge in Leith, Edinburgh

I like to start the light painting session with poses I know the dancer can hold for some time without moving. Once I have a couple of shots ‘in the bag’, I like to try more demanding poses. Lucy did an incredible job standing still during the whole shoot.

Finally, on our way to the bridge we noticed the bronze statue and I knew there was a photograph there. As we walked back we made a quick stop for one last picture.

Light painting a dancer in Leith, Edinburgh next to a statue.

In this photograph, I used the ambient light for the background and only light painted Lucy, the statue and the bench.

Light Painting a Dancer on Calton Hill: Amy

Calton Hill is one of most popular locations in Edinburgh, because it offers a spectacular view of Princes street and the castle. It is where Amy wanted to get photographed and I was delighted to try out Calton Hill for light painting.

Light painting of dancer on Calton Hill with the city of Edinburgh as backdrop

Calton Hill offers a great view of the city of Edinburgh that I used as a backdrop.

One of the things I hadn’t anticipated is that some areas are closed to the public at night. In hindsight it makes perfect sense, for safety reasons. The problem was that I had a number of shots in mind that were now off limits.

Light painting of dancer on Calton Hill with the city of Edinburgh as backdrop

The big rocks provided a great combination of shapes and textures (elements of design), and I immediately knew I could use these as an interesting foreground.

While on some level it was annoying, I like to be thrown a challenge or two when shooting my personal projects. It is good to practice improvising because that is something that can happen on a job. And the more experience I have overcoming the hurdles the real world throws at me, the better prepared I am when it really counts.

Light painting of dancer on Calton Hill, Edinburgh, Scotland

Another location with lines, shapes and texture to use as a background. We tried some different poses, but this is my favourite.

The picture below is one I had I mind before the shoot and was the last set up for the night.

Light painting of dancer on Calton Hill, Edinburgh with the Balmoral Hotel as background.

The Balmoral Hotel is one of the landmark buildings on Princes Street, Edinburgh. Using a telephoto lens, I was able to compress the perspective and effectively use the building as a background.

Light Painting a Musician: Finlay Hetherington

I got to know Finlay though a mutual acquaintance and I was delighted he was interested in taking part in my light painting project.

Light painting of musician and education Finlay Hetherington in front of a graffiti wall with his trumpet

A very simple background can be made interesting by light painting. We both immediately noticed and liked the word ‘love’ on that part of the wall.

Urban settings can work very well for light painting, and I’m always on the lookout for new locations. Typically, I want as many elements of design as possible, i.e lines, shapes, textures and colours in my backgrounds.

Light painting of musician and education Finlay Hetherington in front of a graffiti wall with his trumpet

I like to try a number of variations for each backdrop.

A dancer introduced me to the the graffiti wall and the old building seen in the first three pictures. We never collaborated on a light painting project, but I always kept these locations in mind.

Light painting of musician and educator Finlay Hetherington with his trumpet in an urban location

This location was challenging to light paint because of the street lights nearby that forced me to use a faster shutter speed than I would have liked.

It was pretty chilly on the night of these light paintings, and Finlay’s trumpet was freezing cold and thus really hard to hold while standing still. But after some time warming up in the car, Finlay still had some energy for a final setup. So we headed out looking for a location near the sea. The lighthouse in Newhaven would have provided a great backdrop, but unfortunately, it was too late by then and the sky was just too dark. But I knew of a location nearby with lines, shapes and colours (mostly red) that could work just fine. The photograph below is the last light painting we did on the day, after which Finlay and I were just too cold to carry on.

Light painting of musician and educator Finlay Hetherington with his trumpet sitting on a flight of stairs in an urban location

Lines and shapes abound in this location. I only needed to paint my subject and the stairs because I used the ambient light for the background.

Light Painting Trees

In my light paintings of musicians and dancers, the scene to light paint is relatively small. I can easily go through the scene a number of times to make sure I haven’t forgotten to light paint any part of it. And a moderately powerful LED light is good enough to do the job. Note that I never light paint the whole scene in one go, but only one part at a time and put together all of the shots in Photoshop.

I really want to hone my technique and push myself to do more and more challenging light paintings.

The bigger the scene to light paint, the harder it gets. One of the main difficulties in light painting a large scene is to remember which part of the scene one has already light painted. It thus pays to develop a systematic approach.

For the scene below, not only did I used a more powerful light than in my people light paintings, but I had to figure out which path I would take in order to light paint the whole scene.

Light painting of trees

There is a wooded area pretty close to where I live. I had noticed these trees a while back, and I immediately knew I wanted to light paint them.