Image #1 Super Driver … Occasionally I will do some product shoots for companies. Often times I will incorporate Lightpainting into those photo shoots, and often times the client will choose the Lightpainting over images I made using more traditional lighting techniques. For this Super Driver image I stepped out of the traditional Lightpainting box of thought that your subject must remain completely still during the long exposure time. The scene is actually photographed from a camera position looking directly down onto the scene. A cardboard tube supports the golf ball. Thus, from the camera’s position looking down onto it the golf ball, it appears to be in mid-air. The tip of 3 inch golf tee is attached to another cardboard tube. Because I did not illuminate the bottom tip of the golf tee or the cardboard tube they are not visible. The driver grip is clamped to a table, which allows the driver head to swing back and forth about 6 inches thanks to the club’s flexible shaft. I’ve placed a red cloth about 2 feet behind (below) the driver head to be my background. And I have placed a red gel over the LED of one of my Stylus penlights. The other Stylus is the standard white LED. I pre-focus on the club face, which is also the plain of focus for the ball and tee. Once I begin the 2 minute exposure I use the white LED Stylus to Lightpaint the club face and shaft, tee, and golf ball in perfect focus. Then I turned off the Stylus and manually pushed the focus ring of the lens to infinity. This is the “soft focus” technique I mentioned earlier in this series. Now I can Lightpaint the red background which places the club head in a soft silhouette. Then, I pull the club head back about 3 inches and release it. The club begins to swing back and forth at which time I Lightpaint the sides and back of the club head using the red gelled Stylus. I applied the light only on the back swing and not when the club face was near the golf ball. I made certain not to add any additional light to the club face, shaft, tee or golf ball because I want those parts of the Lightpainting puzzle to be sharp and in focus without any movement or double exposure. The Driver now has the appearance of a fiery Super Driver just after impact with the golf ball. Nikon D200, ISO100, 2 minutes at f10, Nikon 17-55mm lens, WB 7600K, Stylus penlight by Steamlight, Manfroto Super Clamp.

Image #3 On Toe … I have been experimenting with the “soft focus” technique over the past few years. I find it has a very pleasing quality that can greatly enhance an already unique image. While the soft focus technique is a bit more labor intensive due to the requirement of re-focusing after each Lightpainting attempt, it is well worth the effort. I used an aperture setting of f6.3, which provided a short depth of field. The first 6 seconds of the 1 minute exposure time was used to Lightpaint just the ankles, heels and toe shoes of the ballerina perfectly in focus. I am actually kneeling on the floor with my “snooted” Inova Bolt 2L about 18 inches from the ballerina’s toe shoes. I am not visible in the image because there is no light illuminating me. Once the ankles, heels, and toe shoes were complete, I turned off the Inova Bolt 2L and walked back to the camera so I could “soft focus” the remainder of the image by manually turning the focus ring of the lens about half way to infinity. With the exposure time still going I then stepped into the scene and finished adding some Lightpainting to the soft focus legs, floor, and wall. Make note that the sharp focus portion of the Lightpainting was accomplished during the first 6 seconds of the 1 minute exposure time when the subject is most likely to remain perfectly still. The soft focus portion is executed secondly. Nikon D2x, ISO100, 1 minute at f6.3, Nikon 17-55mm lens, WB 5500K, Gitzo Carbon Fiber Tripod and Ball Head with Kirk “L” Bracket, Inova Bolt 2L LED Flashlight.