James Hendrix
Active Member
This image took around 4 hours to create and consists of around 36 images to complete the final image. Lighting was done with a small LED flashlight.
Light Sculpture Series: Tomatoes and Garlic
- Thread starter James Hendrix
- Start date
AlanLichty
Moderator
Very nice work - this lighting is absolutely stunning. This is one of the better still life shots I have seen. I am used to seeing light like this in paintings but it's hard to achieve in photography.
Did you have a result in mind as you composed all of the images that comprise this merged image? I am trying to wrap my head around using 36 different variants to create this.
Did you have a result in mind as you composed all of the images that comprise this merged image? I am trying to wrap my head around using 36 different variants to create this.
This is just fantastic, well worth the effort.
James Hendrix
Active Member
In my opinion, lighting is the most important element to photographs. The technique I use lets me control 100% of the lighting.
When I'm picking objects for an image I already have an idea of what I want the results to be. I spend a lot if time selecting objects that will work together. As a side note, I also try to use antique or vintage objects when I can. I think it adds to the image.
I shoot in complete darkness and everything on my camera is totally manual. I use the histogram as my meter. Exposures are from 5 seconds to 30 seconds, depending on how much light I want tp apply to each object.
I always hold the light from the same angle on each object. As an example, each tomato is photographed three times. I concentrate the light on the top right for one exposure, then move to the top left with a little less light for the second exposure, and then skim the light on the bottom half with even less light for the third exposure. Then move on to the next object.
After I have concentrated the light on each object, I use a LED block light to paint over all the objects from the top in a very fast circular motion. I set the LED output on the lowest setting and sometimes use a diffuser to help reduce and soften the light.
During the entire process I have a large black foam core board to prevent light from hitting the backdrop. When I've completed all the lighting on the objects, I remove the foam board and then skim the light on the back drop. I might take several images painting the back drop until I get the desired result.
When all the images are created I move to Photoshop and bring in each image one at a time. Each image is placed in its own layer. I create a layer mask and then use my graphic table to bring out highlights or to reduce the lighting. I continue to build the final image with the remaining images. Registration is very important as being off just a little causes horrible results. It also puts a strain on my computer as the file easily over a gig in size.
I shoot tethered using Capture One and then move onto Photoshop. Its been my experience that how ever long it takes me to photograph all the objects I then spend about the same amount in Photoshop. So two hours photographing, two hours in Photoshop.
Hope this helps a little. Its a long process but I find it very relaxing
When I'm picking objects for an image I already have an idea of what I want the results to be. I spend a lot if time selecting objects that will work together. As a side note, I also try to use antique or vintage objects when I can. I think it adds to the image.
I shoot in complete darkness and everything on my camera is totally manual. I use the histogram as my meter. Exposures are from 5 seconds to 30 seconds, depending on how much light I want tp apply to each object.
I always hold the light from the same angle on each object. As an example, each tomato is photographed three times. I concentrate the light on the top right for one exposure, then move to the top left with a little less light for the second exposure, and then skim the light on the bottom half with even less light for the third exposure. Then move on to the next object.
After I have concentrated the light on each object, I use a LED block light to paint over all the objects from the top in a very fast circular motion. I set the LED output on the lowest setting and sometimes use a diffuser to help reduce and soften the light.
During the entire process I have a large black foam core board to prevent light from hitting the backdrop. When I've completed all the lighting on the objects, I remove the foam board and then skim the light on the back drop. I might take several images painting the back drop until I get the desired result.
When all the images are created I move to Photoshop and bring in each image one at a time. Each image is placed in its own layer. I create a layer mask and then use my graphic table to bring out highlights or to reduce the lighting. I continue to build the final image with the remaining images. Registration is very important as being off just a little causes horrible results. It also puts a strain on my computer as the file easily over a gig in size.
I shoot tethered using Capture One and then move onto Photoshop. Its been my experience that how ever long it takes me to photograph all the objects I then spend about the same amount in Photoshop. So two hours photographing, two hours in Photoshop.
Hope this helps a little. Its a long process but I find it very relaxing
AlanLichty
Moderator
Thanks for a great explanation of your planning and execution. You have some amazing skills for this type of photography and I hope you see fit to show us more of what you are doing. Thanks for sharing!
James Hendrix
Active Member
Thanks. I have more I plan on sharing. I've been doing the light sculpting images for almost three years and want to share my favorites
Bob Denton
Premium Member
This is amazing to look at. Certainly worth the steps as this is fine art at its best.
Leslie Hunter
Well-Known Member
A work of art indeed.
Jim Dockery
Well-Known Member
Very cool. Thanks for the explanation.
Ken Rennie
Well-Known Member
A wonderful image James. I have a friend who produces something similar but works in very dim conditions with a 10 stop filter and an led torch. Your rendition of the tomatoes is definitely better than anything of his a kind of hyper 3d look. During the winter months I must have a go at producing something like this but can only hope for 1/4 as good as this. Ken
Ron Tuscany
Well-Known Member
Hi James, I find this image OUTSTANDING! I love the amount of depth with which you engage your work. I didn't see it in your description, but I detect some HDR processing here. Perhaps you call it something else. I have only one disagreement with your philosophy on photography: I consider composition to be THEE MOST important element in a photograph. Having said that, it is a mute point because the composition here is impeccable!
I do some complex and deep processing as well. I will post some of those when I get to them, chronologically. Until then, I will continue to appreciate and admire your fine work!
I do some complex and deep processing as well. I will post some of those when I get to them, chronologically. Until then, I will continue to appreciate and admire your fine work!