Light painting is one way to create a strong focal point for your nightscape images. Light painting involves intentionally illuminating part or the entire foreground object. It is so-named owing to its similarity to “painting” specific objects within the scene, except with a beam of light instead of a paintbrush. There are many tools that you may use to accomplish this: a flashlight, headlamp, fire, or even candles! Two examples are shown in Figure 13.1.
The effect of light painting can be profound, and can transform an otherwise dull image. To see the effect of light painting on the feel of a scene, compare the two versions of the identical scene in Figure 13.2 (overleaf), one taken with light painting and the other without.
The color temperature of the light source used to paint the foreground object can dramatically affect the resulting image. Examples of the same scene light-painted with six different sources are shown in Figure 13.3 (overleaf). My preferred light source is a small, handheld flashlight with a beam-focusing head. I usually tape one or two sheets of a CTO (color-temperature orange) gel across the beam to slightly warm the color temperature of the light, Figure 13.3(c). In dark sky environments, the light from this flashlight can be surprisingly effective, especially when coupled with high ISO settings (e.g. 3200 and higher) and 20 second or longer exposure times. By the way, you will note that I never use the on-camera flash; its light is far too bright and its position leads to unacceptably flat-appearing subjects.
The direction of the light from the source can play a key role in the appearance of the light-painted subject. Front lighting is best avoided, as the lack of shadows and resultant lack of contrast results in flat, uninteresting foreground subjects; akin to using the on-camera flash. It is far better to illuminate the subject from either side, or even slightly or completely from the rear. Images can also be created by blending two or more images with different degrees of light painting, as described in more detail in Chapter 22 and illustrated in Figure 13.4. Here, a high-ISO image of the Milky Way is blended with two low-ISO, side-lit images of the foreground subject.
In contrast to light painting, where the light source is outside the field of view, light drawing involves shining light directly into the camera from the light source within the field of view, for example Figure 13.5. This technique has boomed in popularity, and many incredibly creative examples can be found. A wide variety of light sources can be used: sparklers, flashlights, light sticks, and even lighters!
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