By MICHAEL PERKINS
THE STANDARD RECIPE FOR A PHOTOGRAPHIC “PRODUCT SHOT” is rooted in the formal studio lighting set-up. Regardless of whether you’re trying to create an idealized picture of a bottle of soda or a grand piano, the traditional approach is to set up a careful balance of artificial lights, then measure and meter until the object is lit wonderfully from every angle. It’s a system honored by time and tradition, with millions of magazine ads and commercials to attest to its appeal.
Which is fine, except I just happen to find it boring.
Instead of starting with a fully lit room and tweaking towards the ideal, I prefer, with the technique known as light writing, to start at the opposite end of the equation…with a totally dark room, the object in question, and a small, handheld LED, using each shot to light various contours of the object and comparing the results over several dozen frames. Instead of instantaneous exposures, I hold my lens open for as long as it takes for me to move my little torch into place, click on for several seconds at a time, then click off, re-position, and apply lighting to another surface on the object, repeating until I use a remote to close the shutter for good. Results vary wildly from frame to frame, and there is a lot of experimentation to get the look I want, simply because, well, I have no idea what that is when I start.
I may begin by imagining the object as being lit from the side, then try a few takes where the light source comes from above, or even behind. Unlike a traditional studio lighting scheme, light painting allows me to break the rules of nature completely, creating light patterns that could never be achieved in nature. I can spend several seconds arching the LED from one side to another, like a rapidly crossing sun, with the final image bearing every trace of where I’ve tracked over a long exposure.
If I change my mind about what to illuminate in the first ten seconds, for example, I can just adjust it in the next ten. I just re-position the lamp and either augment or erase what’s been stored in the camera in the moments prior. Most importantly, it gives me an infinite number of choices for showcasing the object, settling for a fairly realistic depiction or an utter fantasy or something in between. Comparing the two examples shown here of a series on a whiskey bottle shows how even minute variations in the application of the light give the object a distinctly different identity. And with light painting, the shooter exercises much finer control than is possible with even the best studio set-up….and at a fraction of the cost.
Whether you’re molding an image from a room full of lights or building illumination beam by beam in a darkened room, the whole idea is control. Light painting generates a lot of randomness, and requires a patient eye, but the sheer variety of interpretations it gives you can teach you a lot about the infinitesimal things that can mold a picture, bring more of them under your command.