Painting With Light_10

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Larrie Tiernan / Photographyhttp://larriepaultiernan.blogspot.com/

Painting with Light

It is important to approach any new project by researching aspects of both thephotographic technique and contemporary and historical images associated

with the title of the project. In this case it is Painting with light.

Google Search Painting with light Photographic Technique / Still LifeFlickr Search Painting with light / Still life

This technique requires you to have a small light source such as a torch,maglite, or other forms of small light sources, including fairy lights etc. It isimportant to think creatively and pre-plan what you actually want to achieve byusing different types of light sources.

Can you use small colour filters, sweet wrappers to change thecolour temperature?

Something else you should be aware of is the COLOUR TEMPERATURE ofthe light source. You can do this by examining the colour of your bulb(s) andidentify the potential colour temperature of the light source.

Blue 6500-7000 degrees Kelvin

Orange 3200 degrees Kelvin

Yellow 3600 degrees Kelvin

White 5500 degrees Kelvin

By determining the colour temperature you can select the WHITE BALANCEsetting of your digital camera. This is only a starting point and you can furtheradjust the colour temperature within the custom settings of the camera onceyou start to take the images. If you shoot the images in the RAW FILEFORMAT the colour temperature can be tweaked in the Raw Converter. Toensure exact colour balance include a white or grey card for analysis withineither Lightroom, Photoshop or the RAW converter.

Subject

Having researched the technique and looking at STILL LIFE imagesproduced by both contemporary and historical photographers/artists, youneed to select an object, or objects, which you feel are suited to thetechnique. If you are not absolutely sure experiment with a number of differentobject forms:

Organic

Mechanical

Plastic

Textured

Sculptural

Larrie Tiernan2010/11

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Once you have selected the main subject(s) of your still life (painting withlight), it is important to think of the background colour, lightness/darkness,texture and lighting effects to create the final image. You might need to thinkof any problems associated with the shoot, as well as health and safetyissues.

Equipment

You will also need the following equipment to ensure both the technical andcreative quality of your images.

Tripod (Essential)

Selection of Torches, lighting equipment

Cable release, Self timer or Remote shutter release

Colour filters (you can use coloured acetate or sweet wrappers

which are translucent)

*It is important that the subject does not move during the series ofexposures *

Taking the photographs

You will be creating a series of images, which are lit completely differently. Itis important to carefully think through the lighting and the final effects that you

are trying to create in the COMPOSITE IMAGE.

In terms of the camera settings it is best to use these as an initial startingpoint.

ISO 100 or ISO 200Aperture F11Shutter Speed 2 to 5 seconds (dependent on powerof light source)

If the image comes out too dark you need to increase exposure more

seconds.If the image comes out too light you need to decrease exposure lessseconds.


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Preference for file type would be:

RAW

If you have problems with RAW conversion use:

JPEG Fine

This setting does not allow for professional adjustments. JPEG is also aLOSSY FILE FORMAT (loses information) and creates artefacts, which affectthe quality of the image.

Experiment with different lighting techniques

Take as many photographs as you feel are necessary

Ensure that you monitor and delete images and files which did notwork

Uploading

For the completion of the technique transfer the images to the computer anduse Photoshop and Bridge to view the images and make an initial selection ofimages, which you think have worked best for your particular idea.

THIS NEXT SECTION IS A STEP-BY-STEP APPROACH TO LAYER ANDMERGING THE IMAGES TOGETHER

Photoshop Technique Painting with Light

I am using a series of images that I used as part of a workshop demonstration(12/01/09). The subject that I chose was a RED PEPPER, which I sliced inhalf. The final images can be seen at:

As you see I have created TWO final images. One uses a PSEUDO HDReffect.

http://www.flickr.com/photos/8244160@N04/


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I selected FIVE images to create the layered composite images.


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Initial selection lightbox

Notice that in choosing these particular images, there is a distinct difference inthe lighting of each photograph.


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Layering the images

It is important to consider how the individual images are going to be stackedup on top of each other. This is dependent on the particular lighting techniqueyou have used for each image. The major lighting technique should be used

as the BOTTOM LAYER or BACKGROUND LAYER.

1. Save this file with SAVE AS under the FILE menu in Photoshop.Ensure that you name it appropriately.

2. Choose the next image.

3. Select All - COMMAND A (MAC) / CONTROL A (PC)4. Copy - COMMAND C (MAC) / CONTROL C (PC)5. Paste - COMMAND V (MAC) / CONTROL V (PC)

This should paste the second image on top of the first image chosen as the

bottom, or background layer and start to create a layer stack.


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Do this to all the images that you have chosen.

Repeat the actions One to Five for each image to be used in your

layer stack (as shown above).

You should end up with an image that has five layers.

By double clicking on the background layer you can convert it

into a fully adjustable layer (LAYER 0).

Starting from LAYER 1 change the BLENDING MODEof the layer fromNormal to Lighten. Each layer will start to appear with the different lightingeffects one on top of each other.


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Look at the example below and compare it to the individual images from theLIGHTBOX. I have excluded layer five, as this needs to be modified by usinga GRADIENT LAYER MASK.


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Other layers can be clipped together in a similar way. Ensure that you clickon the appropriate layer and make the adjustments to your taste.

Pseudo HDR

Stands forHIGH DYNAMIC RANGE. This uses a minimum of threeexposures for one image, which are then merged together, either inPhotoshop or a specialist programme called PHOTOMATIX.

To mimic the effect you can use LIGHTROOM.

By using the following settings, you will create a Pseudo HDR effect as shownbelow.


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Glossary

ADJUSTMENT LAYERS

Adjustment layers and fill layers have the same opacity and blending modeoptions as image layers and can be rearranged, deleted, hidden, andduplicated in the same manner as image layers. By default, adjustment layersand fill layers have layer masks, as indicated by the mask icon to the left ofthe layer thumbnail. If a path is active when you create the adjustment or filllayer, a vector mask is created instead of a layer mask.

To confine the effects of an adjustment layer to a group of layers, create aclipping mask consisting of these layers. You can place the adjustment layersin or at the base of the clipping mask. The adjustment will be confined to thelayers inside the group. Alternately, you can create a layer set, and have theset use any blending mode other than Pass Through.

To create an adjustment layer or fill layer:

Do one of the following:

Click the New Adjustment Layer button at the bottom of the Layerspalette, and choose the layer type you want to create.

Choose Layer > New Fill Layer, and choose an option from the

submenu. Then name the layer, set other layer options, and click OK Choose Layer > New Adjustment Layer, and choose an option from the


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submenu. Then name the layer, set other layer options, and click OK.

Note: To confine the effects of the adjustment layer or fill layer to aselected area, make a selection, create a closed path and select it,or select an existing closed path. When you use a selection, you create

an adjustment layer or fill layer confined by a layer mask. When you usea path, you create an adjustment layer or fill layer confined by avector mask.

BLENDING MODES -

A layer's blending mode determines how its pixels blend with underlying pixelsin the image. You can create a variety of special effects using blendingmodes.

By default, the blending mode of a layer set is Pass Through, which means

that the layer set has no blending properties of its own. When you choose adifferent blending mode for a layer set, you effectively change the order inwhich the entire image is composited. All of the layers in the layer set arecomposited first. The composited layer set is then treated as a single imageand blended with the rest of the image using the selected blending mode.Thus, if you choose a blending mode other than Pass Through for the layerset, none of the adjustment layers or layer blending modes inside the layer setwill apply to layers outside the set.

Note: There is no Clear blending mode for layers. In addition, the ColorDodge, Color Burn, Darken, Lighten, Difference, and Exclusion modes areunavailable for Lab images.

To specify a blending mode for a layer or layer set:Select a layer or layer set in the Layers palette.Choose a blending mode:

In the Layers palette, choose an option from the Blend Mode pop-up menu.

Choose Layer > Layer Style > Blending Options, and then choose an

option from the Blend Mode pop-up menu.

CLIPPING MASKS

You can use the content of a layer to mask the layers above it. Thetransparent pixels of the bottom orbase layermask out the content oflayers above it that are part of a clipping mask.

To create a clipping mask:


Hold down Alt (Windows) or Option (Mac OS), position the pointer over


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the line dividing two layers in the Layers palette (the pointer changes to

two overlapping circles ), and click.

Select a layer in the Layers palette, and choose Layer > Create ClippingMask.

Link the desired layers in the Layers palette. Then choose Layer > CreateClipping Mask from Linked.The clipping mask is assigned the opacity and mode attributes ofthe bottommost layer in the group.


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COLOUR TEMPERATURE Colour temperature is a term used to describe the colour of light. Every lightsource has a colour temperature. However, colour temperature refers to thecolour value of the light rather than its heat value. Lights colour temperature

is measured in units called kelvin (K). This temperature scale measures therelative intensity of red to blue light. Warmer lightlight that tends to cast anorangish-red tint across the imagehas a lower temperature. Neutral orbalanced light occupies the midranges, and has no effect on the imagescolour values because of its white qualities. Cooler lightlight that is blue inappearancehas a higher temperature.

COMPOSITE IMAGE

The final image is created from a number of different images stacked aslayers in Photoshop. Adjustments are made using BLENDING MODES,ADJUSTMENT LAYERS, MASKS and GRADIENT MASKS.

HIGH DYNAMIC RANGE

Support for HDR images was introduced in PhotoshopCS2. Select File >Automate > Merge to HDR and choose the images to combine. An option isprovided for aligning the images, if required. No separate calibration stage isneeded, since Photoshop computes the camera response from the sourceimages. Controls are then displayed for setting the bit depth and white point ofthe resulting image. If the 32-bits-per-channel option is chosen, thenPhotoshop keeps the result as a HDR image, and the selected whitepoint onlyaffects the image preview. A limited number of functions are then available for

further manipulation of the image (for example, it can be sharpened but maycontain only one layer). It is likely that full support for 32-bit images will be


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provided in later versions of Photoshop.

GRADIENT LAYER MASK

You can obscure an entire layer or layer set, or just a selected part of it, using

a layer mask. You can also edit a layer mask to add or subtract from themasked region. A layer mask is a grayscale image, so what you paint in blackwill be hidden, what you paint in white will show, and what you paint in grayshades will show in various levels of transparency.

To add a mask that shows or hides the entire layer:Choose Select > Deselect to clear any selection borders in the image.In the Layers palette, select the layer or layer set to which to add a mask.


To create a mask that reveals the entire layer, click the New LayerMask button in the Layers palette, or choose Layer > Add Layer Mask> Reveal All.

To create a mask that hides the entire layer, Alt click (Windows) orOption-click (Mac OS) the New Layer Mask button, or choose Layer >Add Layer Mask > Hide All.

LIGHTROOM

An Adobe Software programme, which can be used in conjunction withPhotoshop. It allows you be work with RAW file formats and experiment withdifferent settings, without making any destructive effects on the RAW filesdata and information.

LOSSY FILE FORMAT

JPEG (Joint Photographic Experts Group) is a popular image file format thatlets you create highly compressed image files. The amount of compressionused can be varied. Less compression results in a higher-quality image.When you shoot JPEG images, your camera converts the RAW image file into

an 8-bit JPEG file (with 8 bits per colour channel) prior to saving it to thememory card. In order to accomplish this, the camera has to compress theimage, losing image data in the process. JPEG images are commonly usedfor online viewing.

PHOTOMATIX

A stand alone software programme which allows you to work with multipleimages, using different exposes, to be combined as a HIGH DYNAMICRANGE image, and has the ability to make adjustments to the TONAL

MAPPING.


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http://www.hdrsoft.com/

PSEUDO HDR

A false version, using the visual effect associated with HIGH DYNAMICRANGE image. Settings can be affected when opening the file inLIGHTROOM (see LIGHTROOM). It can also be saved as a preset and thenquickly attached to other images to quantify the visual affect in LIGHTROOM.(See HIGH DYNAMIC RANGE and LIGHTROOM)

RAW FILE FORMAT

The advantages to shooting RAW files are:

Increased bit depth allows for more colour-correction head room. TheJPEG format is limited to 8 bits per colour channel. RAW images store16 bits per channel, with 12 to 14 bits per channel of colourinformation. Although it may sound confusing, this means you can dosignificantly more colour correction without degrading the image orintroducing colour noise.

After the RAW file is decoded, you work with the most accurate andbasic data about an image.

You control the white balance, colour interpolation, and gamma

correction aspects of the image during post-production rather thanwhen shooting.


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The image file isnt compressed, as JPEG files are, which means thatno image data is lost.

Most cameras are capable of and do shoot colour outside the gamut

range of JPEG (both Adobe RGB 1998 and sRGB), which meanscolour clipping occurs when you shoot JPEG files. RAW files preservethe cameras original image gamut, allowing Aperture to make imageadjustments that take advantage of the full range of captured colours.

RAW files give you control of noise reduction (luminance and colourseparation) and sharpening after capture. JPEG noise reduction andsharpening are permanently applied to the image according to thesettings on the camera.

STILL LIFE

One of the principal genres (subject types) of Western art. Essentially,the subject matter of a still life painting orsculpture is anything that doesnot move or is dead. So still life includes all kinds of man-made ornatural objects, cut flowers, fruit, vegetables, fish, game, wine and soon. Still life can be a celebration of material pleasures such as food andwine, or often a warning of the ephemerality of these pleasures and ofthe brevity of human life. In modern art simple still life arrangementshave often been used as a relatively neutral basis for formalexperiment, for example by Paul Czanne and the Cubist painters. Notethe plural of still life is still lifes, and the term is not hyphenated.

TONAL MAPPING See PHOTOMATIX and HDRWHITE BALANCE

A digital camera records the white balance at the time of exposure as ametadata entry. This is read by the Photoshop Camera Raw plug-in and setas the initial setting, when opening an image in the Camera Raw dialog box. It

usually comes close to being the correct colour temperature. You can makeadjustments if the white balance is not quite right.

The Adjust tab in the Photoshop Camera Raw dialog box has three controlsfor making adjustments to remove a colour cast in your image.The Photoshop Camera Raw plug-in also has a control in the Advanced modefor correcting a shadow colour cast (a colour cast that's in the shadows evenafter the white balance has been adjusted).


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White Balance

Sets the colour balance of the image to reflect the lighting conditions underwhich the photo was taken. In many cases, choosing a white balance from theWhite Balance menu provides satisfactory results. In some cases, you may

want to customize the white balance using the Temperature and Tintadjustments.

Note: The Photoshop Camera Raw plug-in can read the white balancesettings of some cameras. Leaving the White Balance menu set to As Shotuses the camera's white balance settings. For cameras whose white balancesettings are not recognized by the Photoshop Camera Raw plug-in, leavingthe White Balance menu set to As Shot is the same as choosing Auto: thePhotoshop Camera Raw plug-in reads the image data and automaticallyadjusts the white balance.

Temperature

Lets you fine-tune the white balance to a custom colour temperature.Set the colour temperature using the Kelvin colour temperature scale.Moving the slider to the left corrects for a photo taken with a lowercolour temperature of light; the plug-in makes the image colours bluerto compensate for the lower colour temperature (yellowish) of theambient light. Conversely, moving the slider to the right corrects for aphoto taken with a higher colour temperature of light; the plug-in makesthe image colours warmer (yellowish) to compensate for the highercolour temperature (bluish) of the ambient light.


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Painting With Light_10