BLUE LIGHT

by Oleg Ti

Sometimes the photographer (and probably not sometimes but always) works as an painter: he not only captures, imprints surrounding reality that emerged in front of him, but also has a desire to embellish, to process, to change this reality.
When I do the photos, I often see myself as an painter, and sometimes the desire to brighten up the view in front of you leads to various interesting and unusual technical solutions.
Here I would like to put the model in the space of blue lines surrounding her, lines of blue, bright but cold fire.Every setup of lighting begins with the key light. Here I used a small softbox as a spot light. Placing it directly above the model’s head, I got quite a soft light, which has a marked vertical direction. I accordingly got two bright spots of light: the face and the shoulder, which became the key elements of the picture. Neck stretched forward creates an interesting diagonal, and lifted face with one hand allows more successfully cover the face with light, and on the other hand completes the composition: your look moves to this proudly raised head, resting on the eyes looking down to you.
I needed structured, rigid lines, so I selected hard light for this effect and put two reflectors behind the model. Such a position of these units is to create thin, bright lines on both sides of the model’s head.
I used two gels on these units of continuous light: one is conversion 201 gel which converted their color temperature to 5600, the color temperature of strobe light, and other is color gel which is chosen by me with my idea of the color of the picture: the Dark Blue 119 gel.
   
Then I had to tie up the lines on each side of the model and I put additional source for the background to create the spot of light of the same color behind the model. I put on the barn doors over reflector to get vertically elongated spot of light along the line that goes along shoulder and head of the model. I used  the same color 119 filter, but right now conversion gel was not required, as there used the same type of light – strobe, 5600 K, as I used in the key lighting unit.

Then during exposure I moved my camera, but didn’t do it smoothly but with small and sharp movements to create and get more sharp lines around the model. You don’t see the picture during exposure because of closed mirror of the camera so you have at first acquire and then develop the skills of camera movement in such cases: a final picture is quite unpredictable, and every time you build every new picture on what you see on the previous one: in which direction you have to move the camera, how much sharpness of lines you need, how far from the head of the model you have to swing the camera – these and many other questions need to be answerer to get closer to ideal but still unpredictable picture.

Camera: Hasselblad H3DII
Lens: Hasselblad 4.0 210 mm
Aperture: f/14
Shutter speed: 1.0 seconds
ISO: 100

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