photography

This Photographer Turned a Room Into a Photo You Can Step Inside

This Photographer Turned a Room Into a Photo You Can Step Inside

Photographer Chris Engman is one of his landscape photos at a large scale in an unusual way: instead of showing it as a 2D print, Engman transformed a room into his photo by covering the wall, ceilings, and floors with prints.

It’s essentially what you’d get if you used a projector to project the photo into the space, except he used prints instead of light.

Photo by Tony Walsh. Courtesy of the artist and Luis De Jesus Los Angeles.
Photo by Tony Walsh. Courtesy of the artist and Luis De Jesus Los Angeles.

From a certain vantage point when looking into the room, you’ll see the entire photo as it was captured. Walk into the room or view it from an alternative angle, however, and you’ll see how portions of the frame have been stretched out to provide the perspective illusion.

Photo by Tony Walsh. Courtesy of the artist and Luis De Jesus Los Angeles.
Photo by Tony Walsh. Courtesy of the artist and Luis De Jesus Los Angeles.

Over three hundred individual prints were used to turn the space into the photo of a stream in a forest. The piece is titled “Containment”.

“I believe photography derives its power precisely from the fact it can’t be entered, however much we may want to,” the photographer tells Colossal. “When I make photographs I try to be mindful of this, even to exploit it.”

This is the first time Engman’s work is open for visitors to step into. While previous works have used the same type of technique and illusion, they have not been public exhibition spaces.

“Containment” (2015), Digital pigment print, 43 x 58 inches, courtesy of the artist and Luis De Jesus Los Angeles
“Equivalence” (2017), Digital pigment print, 43 x 55½ inches, courtesy of the artist and Luis De Jesus Los Angeles
“Landscape for Quentin” (2017), Digital pigment print, 43 x 55½ inches, courtesy of the artist and Luis De Jesus Los Angeles
“Prospect” (2016), Digital pigment print, 43 x 55½ inches courtesy of the artist and Luis De Jesus Los Angeles
“Refuge” (2016), Digital pigment print, 43 x 53 inches, courtesy of the artist and Luis De Jesus Los Angeles

“The tension between illusion and material is exhibited in these works most notably by the different ways in which paper is used to construct images,” Engman writes in his series statement for Prospect and Refuge. “In the piece titled Refuge, for example, the image of the wooded scene was printed onto over 150 pieces of paper and then physically cut and affixed to walls and objects within an architectural space. The room itself was then photographed and the resulting image printed onto a single sheet of photo paper.

“In the case of the former, the physical properties of paper are acknowledged. In the case of the latter (and this applies to the majority of photographs), everything about the presentation is designed to deny that the paper exists at all. What matters and is emphasized is the illusion, or, if you like, the lie.”

“Containment” is being exhibited in the 2018 FotoFocus Biennial at the Cincinnati Arts Association’s Alice F. and Harris K. Weston Art Gallery in Cincinnati, Ohio, through November 18th, 2018. Engman will also be holding a solo exhibition at Luis De Jesus Los Angeles in February 2019.


Image credits: Header photo by Tony Walsh. Courtesy of the artist and Luis De Jesus Los Angeles.


Source: PetaPixel

This Photographer Turned a Room Into a Photo You Can Step Inside

Sony a7 III vs Canon EOS R vs Nikon Z7 vs Fuji X-T3 : A Low-Light Shootout

Sony a7 III vs Canon EOS R vs Nikon Z7 vs Fuji X-T3 : A Low-Light Shootout

Photographer and filmmaker Max Yuryev just did a shootout to see how top mirrorless cameras compare in shooting 4K footage in low light with high ISO. In the 10-minute video above, Yuryev compares the Sony a7 III, Canon EOS R, and Nikon Z7 full-frame mirrorless cameras as well as the APS-C Fuji X-T3 and the 4/3 Blackmagic Pocket 4K.

At ISO 1600, all the results are relatively clean and usable.

The Canon EOS R becomes unusable (in Yuryev’s opinion) at around ISO 6400, thanks to the heavy ~1.8x cropping when shooting in 4K.

All the way up at ISO 12800, the Sony a7 III is the camera that remains the most usable.

“Just because one camera isn’t good at detail doesn’t mean it’s not a great camera, that I wouldn’t recommend it,” Yuryev says. “In fact, I just recommended the Canon EOS R to two different people even though I know it has some shortcomings.”

Earlier this year, Yuryev did a different shootout that showed that even among Sony cameras, the affordable $1,998 full-frame Sony a7 III is one of its top performers when it comes to low-light performance.


Source: PetaPixel

Sony a7 III vs Canon EOS R vs Nikon Z7 vs Fuji X-T3 : A Low-Light Shootout

To All New Landscape Photographers: Invest in a Good Tripod!

To All New Landscape Photographers: Invest in a Good Tripod!

I guide photography workshops around the world and what I often see with my students is that they bring a great camera and a great set of lenses in combination with a very low-quality tripod. I can’t stress enough how important a good tripod is. If you want to level up your landscape photography, you need a good tripod. Please don’t go cheap on this. I’d argue it’s even more important than your camera!

Note: The photos in this article are examples of shots that benefited from a good, sturdy tripod.

Storm at the dutch coastline. I wanted to capture the dynamics of the waves by not using a super long exposure, but enough to make them look ‘painterly’.

We often get the most epic shots in the most challenging conditions. Why? Simply because it makes people go ‘wow’ and makes them wonder how you took this shot. A good tripod stands its ground in extreme conditions, especially regarding winds.

If you want to shoot during less or lower light you need a longer exposure to properly expose the scene, meaning you need a tripod. It is essential that this tripod does NOT move during your shot. Even the slightest movement will cause your photo to not be sharp. So, without a good tripod, you can have the best camera and lens in the world, but your pictures will still turn out not sharp.

Now, most of you will probably say, “well that’s obvious.” But I am surprised that half of the people attending my workshops (including in Iceland, a country with extremely challenging conditions, quickly changing weather, and high winds) will still bring a cheap travel tripod. Simply because they want to save money or they want to travel light.

A night in the France Provence. Capturing night skies requires a long exposure, shutter speeds usually around 20 seconds which means your camera needs to be absolutely still for that time.

So what tripod do you need exactly?

This totally depends on your shooting style, but in general, your tripod needs to be sturdy. If you travel a lot, weight can be an important factor. I would recommend getting a carbon fiber tripod. They are lighter and often sturdier. You pay a bit more, but you will benefit from it.

A day time long exposure of several minutes. It was stormy weather with low clouds. For these kinds of shots a sturdy tripod is an absolute must.

“Travel tripods” can be okay for ‘lighter’ work — if you go on city trips or to countries that do not experience a lot of wind, a travel tripod is perfectly fine. But if you go to countries with challenging weather conditions, get a heaver and sturdier tripod. Again, it is essential if you want to achieve sharp photos.

The famous diamond beach in Iceland. To get that perfect exposure of wave foam you need a shutter speed of around 1-2 seconds. I am also standing in the water here so my tripod needs to be very sturdy and not even move when waves come in.

Good tripod brands include RRS (Really Right Stuff), Gitzo, Induro, Sirui, Manfrotto, Benro, and Photoclam (a high-quality Korean brand that I’m currently using myself). There are other brands that could go on this list. Don’t be afraid to spend between $400 and $1,000 on a good tripod if you’re getting more serious about landscape photography. Skip buying that new lens first and get a good tripod.

A stormy afternoon in Italy. Capturing the drama with a semi-long exposure here.

I started out in photography with a 50 dollar tripod. Then I bought a $100 one, then a $200 one, and at some point I spent a total of around $400 dollars on all “mediocre” tripods. I could have bought a proper tripod from the start.


About the author: Albert Dros is an award-winning Dutch photographer. The opinions expressed in this article are solely those of the author. His work has been published by some of the world’s biggest media channels, including TIME, The Huffington Post, The Daily Mail, and National Geographic. You can find more of his work on his website, or by following him on Facebook and Instagram.


Source: PetaPixel

To All New Landscape Photographers: Invest in a Good Tripod!

Yongnuo’s YN450 Mirrorless Camera: 4/3 Sensor, Android OS, EF Lenses, 4K

Yongnuo’s YN450 Mirrorless Camera: 4/3 Sensor, Android OS, EF Lenses, 4K

Just a few days after teasing its upcoming mirrorless camera, the Chinese company Yongnuo has revealed some basic specs: as we suspected, it’ll be an Android-powered mirrorless camera that supports Canon EF lenses.

The camera is being referred to as the YN450, but Yongnuo is running a contest to give it a snazzier name.

Inside the camera is a 16-megapixel Four Thirds sensor alongside a Qualcomm 8-core processor. The camera will run Android 7.1 for its operating system and have 3GB RAM and 32GB storage (as well as up to 32GB of expandable storage).

In addition to 16MP rear photos (with RAW functionality), the camera can also shoot 4K video at 30fps and 8MP front-camera photos.

On the back of the camera is a 5-inch 1080p multi-touch display.

Other features and specs include a stereo mic, GPS, a 3.5mm headphone jack, dual LED flashes, and a 4000 mAh battery.

While many of the specs may sound similar to what you can find in the latest smartphones these days — there’s even a selfie camera — the fact that it will support DSLR lenses and feature a large Four Thirds sensor clearly elevates the YN450 to the realm of mirrorless cameras.

No word yet on when the Yongnuo YN450 will be available or how much it will cost.


Source: PetaPixel

Yongnuo’s YN450 Mirrorless Camera: 4/3 Sensor, Android OS, EF Lenses, 4K

How to Style Food for Photos: 10 Pro Tips and Tricks

How to Style Food for Photos: 10 Pro Tips and Tricks

I’m photographer Jay P. Morgan. In this 15-minute video, we’re joined by Ed Rudolph, a food photographer from the Los Angeles area. He’s going to share with us his top ten tips for styling food.

#1. Fake Condensation

Fake condensation on a glass can last for several days, and that’s plenty long enough to get your shots. To employ this method, you want to start with a very clean glass. Wash the glass in very hot water and make sure it’s totally dry on the outside.

The first step is to cover the top with a piece of cardboard and spray the glass with a product called Krylon Crystal Clear. It is a clear spray paint that allows the outside of the glass to have a little bit of a texture, so the next thing that’s sprayed on it doesn’t automatically run off.

The second step is to spray a 50/50 mix of Karo Syrup and water onto the glass to simulate beaded up water.

#2. Real Condensation

It’s hard to beat the real thing! We’re using a beer for our demonstration. To start off, your beverage needs to be refrigerated. Also feel free to put it in the freezer for 20 minutes to get it as cold as possible. We then poured our beer into a glass (be sure not to pre-chill glass), which causes a “bloom” of condensation to form around the glass.

To speed this process along, use a straw to blow through onto the glass. The warmth of your breath starts to make the condensation build to where eventually, droplets of water will begin dripping down the glass.

#3. Fake Ice

Obviously, real ice melts quickly and we might want to use something that lasts a little longer. There are two different types of fake ice you can use: acrylic and clear silicone.

Acrylic ice sinks to the bottom of the glass, so only use it if you plan on filling the glass completely.

Silicone ice floats and comes in a big block from which you can break off small chunks to use. You can buy silicone ice from Special Effects Unlimited by the pound.

#4. Place Bounce Card Behind Glass

To get the beverage to come to life in a photo, we want light coming through the liquid and the glass to give it a nice backlit glow. One of the things we can do to achieve this is to take a second identical glass, lay it down on a white piece of paper or shiny silver card, trace around it, and then cut out the trace.

You can put it behind your glass to bounce light off and through your glass to get the glow you’re looking for.

#5. Getting Perfect Head of Foam on Beer

Within minutes after being poured, a beer can lose its head of foam. To revitalize it, you can shake some salt in and mix with a spoon.

It doesn’t take much to build the foam back up again, so only use small amounts of salt at one time!

#6. Melting Butter on a Muffin

To recreate the look of a freshly made muffin, heat the butter rather than heating up the muffin itself. Before you begin, freeze your butter for 30 minutes to allow it to maintain a perfect square shape when you cut it. You also need to tear your muffin in half. Tearing gives the muffin a more natural look than if you were to cut it.

When your butter is ready, cut multiple squares from the stick to allow yourself to find the perfect shape. Then, cut 45-degree bevels into all four sides of the square (be sure to wipe the knife after each cut), and place the square onto your muffin.

You will then use a heat gun to precisely heat only the butter until it begins to melt.

#7. Dilute Beverages

If you’re wanting to shoot beverages such as red wine or Coca-Cola, you’ll find that the camera doesn’t capture the color of them very well because of how dark they are. To rectify this, you can dilute your dark liquid 50/50 with water. If you’re using a 16-ounce glass, pour 8 ounces of the soda with 8 ounces of water into a measuring cup and then pour the mixture into your glass. The result might look too light to you at first glance, but it will allow your camera to capture more light from the beverage.

#8. Fresh Poured Coffee Look

After sitting for a little while, a cup of coffee begins to look flat and not dynamic like we would want it to for a photo. To revitalize it, pour a small amount of coffee into a measuring cup and mix it a squirt of clear dish soap (must be clear), and mix to create bubbles.

Once bubbles have formed, use a spoon to scoop the bubbles out of the measuring cup and place them into your mug of coffee around the edges.

#9. Create Fake Crushed Ice

You might be wanting to create a shot of a bucket of beers or seafood on some crushed ice. But because crushed ice normally melts quickly, you can pick up water storing crystals from the hardware store to mimic the look of crushed ice. Begin by pouring a small amount of the water storing crystals into a bowl and then a subsequent small amount of water. Then, stir the mixture until the crystals start expanding.

Once you achieve the look you want, you can place whatever item you’re wanting to shoot into the bowl. For beverages like our beer, the water storing crystals do a great job of sticking to the sides of the bottle for a long period of time.

#10. Hearty Looking Soup

Just as with other food items, the contents of soup begin to sink to the bottom of your bowl after sitting for a while. To give the soup an appetizing look, drop some clear acrylic marbles or fake acrylic ice cubes in and tuck them to the bottom of the bowl. What this will do is create a platform for the contents of the soup to sit on top of.

At this point, you might notice that the liquid level of the bowl has risen too much. Simply take a spoon and carefully remove the liquid from the top and discard into a measuring cup.


P.S. If you’d like to learn more from Ed about getting started in food photography, check out the new Art of Food Photography download at The Slanted Lens! This lesson covers equipment, lighting, business and more.


About the author: Jay P. Morgan is a commercial photographer with over two decades of experience in the industry. He teaches photography through his company, The Slanted Lens, which runs a popular YouTube channel. This article was also published here.


Source: PetaPixel

How to Style Food for Photos: 10 Pro Tips and Tricks

Fujifilm X-T3 Teardown: A Look Inside Fuji’s Latest APS-C Masterpiece

Fujifilm X-T3 Teardown: A Look Inside Fuji’s Latest APS-C Masterpiece

You might have thought the Fujifilm X-T series was finished with the release of the X-H1, that Fujifilm was digging into the competition and leaving their love of style behind as was evident with that monstrosity. (We mean that lovingly.) But, the X-T3 is here, and it’s as beautiful as ever.

Not only that, but the X-T3 even outperforms the X-H1 in many areas as far as their spec sheets are concerned. Fujifilm’s approach to the mirrorless camera war of 2018-20?? is a two-pronged assault on the flanks. They’re releasing powerful cameras with APS-C and medium format sensors in multiple iterations while skipping full-frame entirely. Fuji’s alternative strategy is a very interesting pincer attack on the market, and we definitely shouldn’t count them out just because they’ve officially rejected full-frame.

Aesthetically pleasing and minimally invasive, the X-T3 is an artist’s camera. Upon initial inspection of the retro chrome exterior, we found some fairly decent sealing around the ports and doors.

The X-T3 clearly isn’t meant to go toe to toe with the full-frame workhorses in this arena, but it won’t be done in by a light sprinkling rain either. It’s solid yet lightweight, what we supposedly all want out of a mirrorless camera as opposed to the DSLR-with-an-EVF style form factor that is clearly the current fan favorite judging by Canon, Nikon, and Sony’s recent releases.

We begin by extracting the exterior screws. Fuji has a knack for hiding these.

See what I’m talking about? They really make a game out of it.

Once you find them all, the bottom should budge off with some gentle prying. Here is where we start to notice the difference in sealing between this model and the more hardcore professional cameras we’ve been examining recently. The X-T3 obviously isn’t dressed for the Amazon.

From there, a few more screws come out and the back should come off, multi-angle articulating LCD included. We were met with a single motherboard with neatly aligned connectors and a surprising 11 soldered connections. That’s a lot more than the 0 soldered connections we’ve found on most recent releases.

Here are the solder points close up. All need to be desoldered to remove the board and access the sensor.

First, we’ll remove the top. Here is a good view of what all those beautiful dials look like from the inside.

Once all soldered connections are separated, we can unscrew the board and pull it out.

Motherboard: front.

Motherboard: back. It’s easy to forget this camera has dual SD card slots when they’re this neatly arranged. Sony’s dual SD card slots on the A7R III are both crammed onto one side of the board and look like they’re at risk of falling off the edge. You can see for yourself here.

Now that the board is out, the sensor is still held in place by some copper tape, more screws, and a copper shield covered in heat-sinking material you can see near the center of the photo on the right. That piece makes lifting the sensor directly up from the body impossible.

The solution: lift up and to the left VERY CAREFULLY. The sensor rests on very light and thin shims that are critical for accurate focusing. If they are lost, broken, or bent, you’ll have a big problem on your hands.

A more intimate look of what is left, including the shutter mechanism.

Finally, the sensor, one sensor that looks suspiciously similar to the one found in the X-H1, minus an IBIS shaker. Of course, we know this isn’t the same sensor. The X-T3 sensor weighs in at 26 megapixels of resolution, 2 more than the X-H1. The X-T3’s sensor is also a BSI (backside illuminated) CMOS sensor which should significantly boost its low-light performance.

Fujifilm has always been a favorite within the infrared photography community and has been stealing the hearts of Nikon shooters ever since the XT-1 came out in 2014. Sorry Nikon Df, you just didn’t quite nail the look.


About the author: Pat Nadolski is a photographer and technician at Kolari Vision, an infrared camera conversion business based in New Jersey. The opinions expressed in this article are solely those of the author. You can learn more about the company’s service’s on its website. This article was also published here.


Source: PetaPixel

Fujifilm X-T3 Teardown: A Look Inside Fuji’s Latest APS-C Masterpiece

The Escura Instant 60s is a Retro-Styled Hand-Powered Instant Camera

The Escura Instant 60s is a Retro-Styled Hand-Powered Instant Camera

The Hong Kong-based design brand Carbon has unveiled a new camera called the Escura Instant 60s. It’s a retro-tastic instant camera that’s 100% hand-powered, 100% manual, and 100% analog.

Just like with early mechanical film cameras, no batteries are needed in the Escura Instant 60s.

After loading the camera with a pack of Fujifilm Instax Mini instant film, you can select between shooting at f/8 and f/11 apertures.

After snapping a photo, you turn a crank on the side of the camera to eject the exposed film.

There’s also an optional external flash that comes with a diffuser and color gels:

Specs of the camera include a 60mm f/1.8 equivalent lens, a minimum focusing distance of 0.8m, a 1/100s shutter, a bulb shutter with a spring-shutter release cable, multiple exposure shooting, and a weight of 12oz (350g).

Carbon says it came up with the retro design to pay homage to what the 1960s gave us.

“In the 1960s, technology was expanding rapidly alongside design and culture,” the company says. “Technology did not only inspire aesthetics designs but enabled us to embark on unprecedented explorations to enrich the texture of life. This included a rise in popularity of lucite and newly colored plastics used in a variety of products.

“This is a fine representation of our appreciation for the 60’s design trends and desire for the most authentic photographic experience.”

Here are some sample photos captured with the camera:

It seems that manually-cranked Instax devices are a new trend in late 2018: KiiPix is a $40 hand-cranked printer that’s already on the market, and last month Holga announced the Holga Printer that’s essentially the same thing (except with a proprietary Holga companion app).

Here’s a video introducing the Escura Instant 60s:

The Escura Instant 60s is being launched through a Kickstarter campaign, which has already exceeded its initial $38,271 goal. A pledge of about $48 and up will get you one of the first cameras if the project successfully ships in February 2019.


Source: PetaPixel

The Escura Instant 60s is a Retro-Styled Hand-Powered Instant Camera

Zoom Into the Black Hole at the Center of the Milky Way

Zoom Into the Black Hole at the Center of the Milky Way

Scientists just further confirmed what has long been believed: that there’s a supermassive black hole scientists named Sagittarius A* at the center of our Milky Way galaxy. This mind-blowing 1.5-minute video zooms in from a wide view of the night sky into the tiny little area where the latest telescopic observations were just made.

In a paper published on October 31st, 2018, scientists at the European Southern Observatory (ESO) detailed how they used the GRAVITY interferometer and the four telescopes of the Very Large Telescope (VLT) to create a virtual telescope that effectively has a diameter of 427 feet (130m).

Pointing this ultra-telescope straight at Sagittarius A*, scientists detected bright spots of gas traveling in orbits around Sagittarius A* at 30% the speed of light.

It’s “the first time material has been observed orbiting close to the point of no return, and the most detailed observations yet of material orbiting this close to a black hole,” ESO writes. “This video starts with a wide view of the Milky Way and then zooms into a visualization of data from simulations of orbital motions of gas swirling around at about 30% of the speed of light on a circular orbit around the supermassive black hole Sagittarius A*.”

Scientists are creating larger and larger telescopes that will give us even more impressive images in the future. If you think this observation by the VLT was impressive, check out this graphic showing how its light-gathering ability compares to other current and future telescopes:

Illustration by Cmglee and licensed under CC BY-SA 3.0

Too bad the Overwhelmingly Large Telescope was cancelled — that would have been quite the ultra-telephoto lens.


Source: PetaPixel

Zoom Into the Black Hole at the Center of the Milky Way

Brush Tool Challenge: Can You Retouch a Portrait Using ONLY the Brush Tool?

Brush Tool Challenge: Can You Retouch a Portrait Using ONLY the Brush Tool?

Can you do a professional retouch of a portrait photo using only Photoshop’s Brush tool? That’s what the Brush Tool Challenge is all about, and here’s a neat 22-minute video by photographer and retoucher Aaron Nace of PHLEARN showing how it can be done.

Nace says he was inspired to start the challenge after seeing makeup tutorials on applying makeup using only your fingers.

Here’s the photo Nace started with — it’s available for download over on the PHLEARN website if you’d like to try your hand at this challenge:

Nace first uses the Brush tool for skin retouching and blemish removal, painting his own skin color and texture as an alternative to using something like the Spot Healing Brush.

He also does dodging and burning by painting with black and white with a very low flow (about 5%) and the Soft Light blending mode.

Finally, Nace also does color correction by painting in complementary colors and changing the blend mode to Soft Light.

Here’s the retouched photo that resulted in the end:

While the differences are subtle, you can see them in this comparison GIF:

“Remember, this isn’t the way we would normally approach tackling complex tasks in Photoshop,” PHLEARN writes. “We still recommend giving this challenge a try! Exercises like this will really help you master individual tools while also developing the creative problem solving skills you’ll need to knock out your biggest projects!”

You can find more of PHLEARN’s videos by subscribing to the YouTube channel.


Source: PetaPixel

Brush Tool Challenge: Can You Retouch a Portrait Using ONLY the Brush Tool?

Shoot In-Camera Zoom-Effect Double-Exposure Light-Painting Photos

Shoot In-Camera Zoom-Effect Double-Exposure Light-Painting Photos

Several years ago I developed a technique that I use for light painting in which I take a king size bed sheet and light paint through it to create my images. I recently created this 10-minute video tutorial explaining in detail how to achieve this creative effect.

I am also always looking for ways to push myself creatively and adding new photography techniques while using my sheet technique. Lately, I’ve been pushing myself to find interesting daytime subjects, such as sunsets, sunrise, moody skies, colorful trees, etc., and using a technique called “racking” or “zoom/pull”.

Basically how racking works is that you find whatever subject you are photographing and, using long exposure, you manually move your focal ring forward or backward while your shutter is open creating a zoom effect. I’m using an ND filter for this process to ensure 5 to 8-second exposures and richer balanced contrast through my exposure when doing this racking effect.

Now step two is where it gets really fun. I’m using a Canon 6D, which has an in-camera double exposure setting. It allows me to take my zoom/pull photo that I shot outside and set that image to be light-painted over in my studio.

It is important to note that when using in-camera double exposure, “Additive” is what should be applied — not “Average,” because we are adding a new light element to the frame, not an average light source. You have full flexibility using this technique as far as your shutter speed you want to use as well as whatever aperture you want to set, but your ISO must remain as what was originally used for the first image.

Finding that balance can be a little tricky but I have found ISO 640 to ISO 1000, f/7.1-f/13, and a 5-10 second shutter to work well for the first outside image with an ND filter. And for the second inside image, it would again be ISO 640 to ISO 1000 — that can not be changed from the original image — and then f/13-f/22.

This entire process came together perfect the other night when I set out to catch the sunset from the Blue Ridge parkway here where I live in Virginia USA. I noticed the trees looked so amazing with the sunset backlit behind them, so I decided not leave empty-handed and do some zoom/pull images as described above with my Canon 6D and Sigma 24-105mm at f/8, 8″ seconds, ISO 1000, with a Hoya ND filter.

I then took those images I took from that vibrant sunset and used them as in-camera double exposure that I then light-painted over using my sheet technique all done in-camera with my Canon 6D, Sigma 24-105mm at 10s+, f/22, ISO 1000 using my sheet technique.

Thank you very much for allowing me to share my creative work process with you.


About the author: Jason Rinehart is a light-painting photographer who holds a Guinness Book of World Records achievement in light painting. The opinions expressed in this article are solely those of the author. You can find more of his work on Facebook, YouTube, and Instagram.


Source: PetaPixel

Shoot In-Camera Zoom-Effect Double-Exposure Light-Painting Photos