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Why Deleted Tweets Still Linger Online

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Hot Rod Flame for Flame – How the Shot was Made

In this article, see how the shot below was conceptualized, shot and put together and finished in post-processing.

The idea

It all begun with the first picture I did of the customer’s hot rod. He wanted a print on his wall (about 2×3 meters). So, I used my large format camera, a Linhof Master Techika, with sheet film. We did a large scan of the negative and the huge print of that scan.

This huge print from a 4×5 negative looks great even from up close.

Then the customer painted two other cars in the same style as the hot rod.

Cool cars with pin striped flames.

He called and asked me to do a group shot and if I had any ideas how to do it. I thought about it a while and came up with the idea of light painting fire in the background, but I wanted to light the cars perfectly. I also had a reflection of the fire and the cars in my mind.

Safety first

We found a huge asphalt place, where we were far away from anything flammable and we could use water on the ground for the reflection. But before I go into detail, I want to tell you about the safety part. Safety was the most important part of this shoot and it took a lot of time to plan everything.

Always be careful with fire.

Here is a safety checklist for you:

• You must get a permission to shoot at the selected location.
• Everybody should wear cotton shirts and jeans – these materials can be extinguished easily in case of fire.
• Get a fireproof suit for your assistant (ask your fire department).
• Talk with your fire department before the shoot, they have lots of knowledge about fire safety. Also find out if you need a fire permit.
• Have enough people on the set (one who carries the fire wick and one who kills the fire).
• Have a fire extinguisher onsite and know how to use it (also get a fire blanket).
• Gas tanks of old cars are mostly leaky, and at warmer temperatures they vaporize gas. So be sure to have enough distance between the cars and the fire – talk to car mechanic before the shoot about the risks.
• Wet sheets and lots of extra water.
• If it is too windy cancel the shoot – it’s difficult to control fire in windy conditions.

How the shot was done

This is how the setup looked.

I arranged the cars hours before sunset and set my camera on a tripod. In order to get a better idea of the outcome, I shot tethered to my laptop. After everything was in place, I started shooting the cars while the strobe was moved all around the cars. With all these different shots, I could get a reflection free exposure of all cars in post-production.

Here you can see all the single exposures.

After this was done we poured about 200 litres of water on the ground to make the reflection. Again I took multiple exposures of the reflection with the strobe.

Same procedure again.

The fire

After I did a separate shot of the lights, I was waiting for blue hour to do the fire light painting. For that we used a 3-meter-long wick (a Kevlar wick is the one you want to buy) mounted on a long metal stick. We soaked the wick with lamp oil, in a metal pot (use one that you can cover with a lid if it catches fire) far away from the place where we fired it up.

Then I started with a long exposure (using a cable release on my camera) while one assistant walked behind the cars with the huge fire wick. At the end, the second one killed the fire with the wet sheets. As you can imagine, this is a very time critical task to get everything done during blue hour.

This is how the fire painting looked.

Gear used:

• Canon EOS 5D MK III
• Canon EF 35mm 1.4 L USM
• Canon Timer Release TC-80N3
• Linhof tripod and ballhead
• Hensel Expert D 1000 Strobe
• Hensel Grand 90 Softbox
• Hensel Power Max L mobile power generator
• Hensel aluminum tripod

Post-processing

I’m a long-time Photoshop user, but changed to Affinity Photo since my CS6 license was only valid on Windows and not on my new Mac. First it was a try, but now I do everything in Affinity Photo. I just love it – even the iPad app, that could also open my 1.2 gig hot rod file.

Step by step:

I used the fire painting image as the background (1 below). Then I put all the other layers above using layer masks and painted everything in one by one.

First the headlights (2) then the cars starting with the Dune Buggy (3,4,5) to the Hot Rod (6-7) and at the end VW Beetle (8,9).

Now I put a layer mask above all the cars, deleted some of the parts that were too shiny and painted flame reflections from the background back in (10). At the end, I painted the reflections into the picture to make everything complete (11).

As you can imagine there were lots of layers to work with and in total I worked 11 hours (including preparation and shooting) on this one photograph.

Every layer with its own layer mask.

Final image

Not everyone will have the resources, skills or ability to do a shot like this. Please remember, do not attempt this without advise from safety professionals.

But I hope you agree that all the time and effort that went into this shot is worth it.

 

The post Hot Rod Flame for Flame – How the Shot was Made by Markus Hofstaetter appeared first on Digital Photography School.

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Review of the new Spekular Modular LED Light System

I was fortunate enough to get hold of the new Spekular Modular LED kit from the people at Spiffy Gear a little bit earlier than most. So I’ve been using it for a couple of months now on everything from a personal portrait project to a product shoot of a whole load of shoes, and lots of other things in between.

In the box with the Spekular Modular LED kit

The kit comes in a handy carry case that keeps all of the gear together. You get four of the Spekular LED bars (I’m just going to call them bars, you might want to call them something else) and clips to join them together, along with a mounting connector that has a metal 1/4″-20 thread. This allows you to screw it onto a light stand, or as I’ve been doing, onto a tripod base-plate and using it on top of a tripod, which allows me to move the light where I need it. You get a multi-voltage power supply and a bit of documentation in the box, too.

The kit ships with a regular power supply and plugs in and is controlled very easily on one of the light bar units, with the power running from what would be 0% to 100% in step-less increments. There is also an external battery kit that you can pick up if you’re looking to use Spekular away from a power outlet.

Setting it up

The mounting bracket that is included simply slips along the back of any of the light bar units. You can adjust exactly where you’d like it to be connected to the unit, and then you simply connect it to a light stand or via a tripod plate or any other stand/magic arm with a 1/4″-20 connector.

Let us move swiftly on! Take a look at how the unit works and what it can do, according to the Spiffy Gear video below, and then we’ll get on with how well it worked for me in real-world situations!

Using Spekular in the real world

I’ve read a little of what others are saying around the web, a few people mentioned that they don’t like the specular highlights the kit gives, to which I’d say, “So set it up differently!”

You can set the unit up as something that resembles a traditional rectangular LED panel, or you can set two kits up as a crazy epic star-like looking thing! As with any art/photography, the resultant look you’re after is subjective, and that’s fine! You can get seriously creative with this Spekular Modular LED kit, and that flexibility really impressed me.

Spekular for portraits

The first shoot I took the Spekular kit along to was one of my own. It’s a portrait series that I’m working on, based on men’s mental health. The Spekular kit was on a Kupo Click light stand slightly above and forward of my camera position.

It was only a test, but I was very happy with the results! (Yes, that’s a self-portrait below, I’m taking the photograph using Sony’s Play Memories with my A7R II).

Spekular for product shoots

The other main use I’ve had with the Spekular kit was on a spur of the moment product shoot for a friend. I needed to photograph 20 pairs of shoes for a website. This is something I’ve not done much of, but I was very interested to try out the kit and see if it could provide the results that were needed for this job.

The thing I found about using the Spekular kit was that it provided a really great quality of even light when positioned correctly. I used a Kupo C-Stand and positioned Spekular, set up in a square format, over the top and slightly forward of the product. This really cut down on shadows!

Yes, these shoes have wings!

Great, even light for products.

The shoes were photographed for a web-store, my friend was very happy – yay.

Each light bar puts out 14.5W of light which is kinda similar to a 150W halogen light. The lights have a 94+ CRI (CR-What? Read What CRI is here)

So, what’s the verdict?

Still not convinced? Here’s another video showing the Spekular LED light in use.

What did I like about the Spekular Modular LED light system? In two words, almost everything. The build quality is great, the unit stays level when attached from one side, it doesn’t twist like plastic units tend to do. I’d love to start using the kit with a battery pack to make it a little more portable.

One of the things I need to work on, but fixed very easily with Rosco Cinefoil ($34 for 25′ of the stuff) was the light spread. Naturally LED lights don’t tend to be super focused, so you need to find a way to shape them if that is the look you’re after. I found it very simple to do using flags or Cinefoil kind of shaped like barn-doors.

In my opinion, the Spekular kit is very good value compared to other options on the market considering what you get, how well it appears to be built (keep in mind I’ve only had the kit since July 5th), and how well it works.

Spiffy suggests that Spekular is “the Swiss army knife of LED lighting,” and I’d tend to agree! Well done!

Five Stars, Spiffy Gear, Five stars!

The post Review of the new Spekular Modular LED Light System by Sime appeared first on Digital Photography School.

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