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On The RoadNovember, 2005
Well,.....That was fun. LIGHT is the key element that underlines all these images. Light creates a mood and how the photographer uses light, whether it is natural or produced is key in conveying a mood to your audience. Lightpainting and SB800 Speedlights are two ways of taking control of the light that conveys mood in your images. See you next time On The Road..................................Adios, Dave
May,
2008 (click here) |
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Image
#1 Lightpainting is one of my favorite photographic techniques
to do. It is the most creative and artistic expression within
my profession. This image was captured in color but my daughter
suggested converting it to Black and White, so I desaturated
the image and brought back some tonal values to try and
produce a black and white image reminiscent of the glory
black and white era. Captured about 45 minutes before sunrise
I set my exposure for the cloudy sky which left my trees
in silhouette. I then revealed the trees and portions of
the stream with lightpainting. Nikon D2X, ISO100, 30 seconds
at f22, Nikon 12-24mm lens, WB 7100K, Bogen Tripod, Slik
Super Ball Head, Kirk L Bracket, Long Exposure Noise Reduction,
Lexar 4G Flash Card, Vector Sport Spotlights with 2 million
candle power. The tonal values I reintroduced into the desaturated
image were produced in Photoshop using Color Balance by
adding +1 Green and +1 Yellow in Highlights, +2 Green and
+5 Yellow MidTones and +1 Green and +1 Yellow in Shadows.
This is my own formula and is only an experiment. Other
photographers have studied the making of Black and White
images in Photoshop with fantastic results. Vincent Versace
comes to mind as the best at this process. My formula may
not be perfect but at least I am on my way.
Image
#2 Lightpainting at the same location about 50 yards upstream,
this time approximately 1 hour after sunset. The same Black
and White formula used in Image #1 is again used to convert
this image that was originally captured in color to Black
and White. This is a 5 minute exposure with ISO200 at f5.
The Grand Teton Range is still visible between the trees and
was my reason for choosing this exposure. I then revealed
the trees and stream with Lightpainting by using my Vector
Sport Spotlight with 2 million candle power. Nikon D2X, ISO200,
5 minutes at f5, WB 10,000K, Nikon 12-24mm Lens, Long Exposure
Noise Reduction, Bogen Tripod, Slik Super Ball Head, Kirk
L Bracket and Plate, Lexar 4G Flash Card, Vector Sport Spotlights.
I used a Nikon Electronic Cable Release set at 5 minutes with
the D2X set on BULB to achieve a longer than 30 second exposure
time.
Image
#3 Lightpainting is a lot of fun. I am always looking for
ways to be creative and give my landscapes a mood. The old
barn on Mormon Road near Antelope Flats outside of Jackson
Hole is one of my favorite locations to Lightpaint. As usual
I set my exposure for the sky and revealed the barn and
fences with Lightpainting. A clear sky and 30 seconds of
exposure time approximately 45 minutes before sunrise exposed
a beautiful star field above the Tetons. I converted this
color image to Black and White just as I did in Image #1
and #2 at the encouragement of my daughter. Nikon D2X, ISO100,
30 seconds at f22, Nikon 12-24mm Lens, WB 7100K, Long Exposure
Noise Reduction, Bogen Tripod, Slik Super Ball Head, Kirk
L Bracket and Plate, Lexar 4G Flash Card, 2 Vector Sport
Spotlights with 2 million Candle Power. As with the previous
lightpaintings I set my exposure for the sky and then reveal
the elements of the scene with my Vector Sport Spotlights.
I use a continuous motion with my spotlights so as to produce
a soft lighting effect much like a painter would bush paint
on a canvas.
Image
#4 The game between Denver and Washington was a photographer's
nightmare.....COLD RAIN. A fellow photographer said to me
"I hope the rain stops"...to which I answered
"I hope it snows." I have learned over the years
that inclement weather can produce great opportunity for
unique images. In this case, the heavy rain forced people
to seek shelter....so I chose refuge (purposely) in the
tunnel where the opposing team would come from. A mixture
of Florescent and Mercury Vapor lights with a touch of overcast
daylight coming in from the tunnel opening to made for some
interesting tunnel ambient light. I used 2 SB800s taped
together (Tandem) with the standard Warming Gel with each
in i-TTL mode (see 
Image
#5 I waited in the tunnel (out of the rain) during half-time.
I set my exposure for 1 and 1/3 stops under the ambient light
outside the tunnel and used the same set up with Tandem SB800s
and Warming Gels and same WB 3600K to add blue to the outdoor
ambient light. Nikon D2X, ISO100, 1/15 at f8, Rear Curtain
Sync, WB 3600K, Tandem SB800s with Warming Gels at Power Output
of +1 and Master on Hotshoe no power output, Nikon 12-24mm
Lens, Lexar 4G Flash Card. 
Image
#6 As the team finished running by me and onto the field I
felt there might be a few "late comers" so I waited
for a minute or two and looked at the images I just captured.
I decided to over expose the outdoor ambient light by 1 and
1/3 rather than underexpose as I did in the previous picture.
As I finished taking a test shot (take a shot / take a look)
to confirmed my new exposure...along came star running back,
Clinton Portis. I was about 25 feet in side the tunnel and
just followed behind him as he ran through the tunnel. This
produced a wonderful dream like motion to the scene while
my tandem SB800 froze Clinton with a warm light. My favorite
image of the game. Nikon D2X, ISO100, 1/5 at f8, WB 3600K,
Rear Curtain Sync, Nikon 12-24mm Lens, same Tandem SB800 set
up, Lexar 4G Flash Card. NOTE: These three images from the
tunnel were taken with my D2X held in front of me. I am not
looking through the view finder because I want to see the
entire scene and extend my camera position farther away from
my tandem SB800s. I use Group Dynamic Auto Focus while shooting
this way. Experience has helped me gauge my camera and lighting
positions and I have grown very comfortable shooting on the
run without composing through the view finder. You might want
to practice first before shooting without looking through
the view finder. 
