With the advent of digital
photography and computer manipulated photographs, we have come to expect the
extraordinary, maybe even the seemingly impossible. Unfortunately, this has also caused some of
the older, conventional photographic methods to become relics of the past, soon
to be forgotten.
There is no doubt that
modern, computer methods have made it substantially easier and more productive
to manipulate photographs, to show the unusual.
Yet we have seen similar things done, in the past, with just conventional
photographic techniques. In a modern
studio operation, digital techniques are definitely necessary to maintain a
competitive edge. But for just plain,
photographic fun, some of the old, conventional techniques have a lot to offer.
The photograph in this
article has often been thought of as being computer generated or
manipulated. Yet it was done by
standard, photographic methods and a bit of ingenuity. It came about as an assignment for a local
client. The basic idea of the shot was
specified, and it was up to the photographer to execute the idea in the studio
and to put it on film.
The photograph is the result
of multiple exposures on the same sheet of film. Following is an account of how this was done…
As a camera, a 4x5 view
camera was chosen, although any other camera could be used as well. Initially, the phone was hung up with very
thin, micro filament line. It would be
very difficult to hang the phone in an angle; instead, it was hung straight,
with the antenna facing down. Two lines,
in an angle were used to prevent the phone from swinging sideways. An additional two lines were fastened to the
antenna to avoid the phone from swinging back and forth. To allow the phone to be recorded in an
angle, the camera was tilted. The upside
down image in a view camera actually made it easier to compose the set, because
the upside down phone showed upright on the ground glass. With cameras other than a view camera, it
would be easier to have the phone hung upright.
Lighting was done all with
hot lights, using a strong cross light on the key pad, with a softer light
source, with the same angle, as fill. A
reflector was used to lighten the dark, opposite side. The camera was supported on a studio stand
with a geared head. This allowed for an
easy addition of the motion streaks. The
initial position of the camera was marked with white board marker directly on
the ground glass. With other cameras the
position would need to be marked on the tripod.
Then the camera was tilted down for the position of the end of the
motion streaks. With the shutter open,
the camera was slowly tilted upward, until it reached the initial position as
marked on the ground glass. This gave
the phone an exact, fixed position for the next exposures, the first of which
was the phone by itself, against a black background with the above described
lighting.
The flame had to be done
carefully, in order not to hurt the phone or set it on fire. Clients really don’t like it if you burn
their products. A light stand was
positioned right behind the phone.
Wrapped in a black cloth, the parts below the phone did not show against
the black background. On top of the
light stand a small piece of sponge material was fastened. The height of the light stand was carefully
adjusted such that the sponge was just hidden behind the edge of the
phone. The sponge was soaked with
lighter fluid, which burns with a bright, orange flame. Thus, the exposure of the flame was no
problem at all. Of course, the lighting
for the phone was shut off for this exposure.
The fourth and final exposure
was for the background. To allow for the
space scene, rear projection was chosen.
A standard, 35mm slide of the scene was projected onto a rear projection
screen. This is a bit trickier, since the
product, in this case the phone, must not be allowed to move at all. The subject lighting must be off for this
exposure to avoid any light from spilling onto the rear projection screen. For the previous three exposures the screen
was not in place. The screen must be
carefully put in place, as close as possible to the subject, to avoid any depth
of field problems. Neither a change of
aperture or refocusing can be done since both will alter the size of the product
in front of the screen. The product is,
what is called, self-masking. With other
words, it blocks out the areas of the background covered by the product. It is also important to filter the projector
lens. Most projectors use a heat
absorbing glass which is slightly green in color. Without filtration, the rear projection image
would have a green cast. A gel filter of
CC10M (10 Color Correction values of Magenta) in front of the projector lens
assured the correct color balance. Thus,
the fourth exposure made the phone move through space.
Exposure readings were taken
in the following manner: For the
exposure of the phone, the initial reading was an incident reading, facing
toward the light source. To make sure that
the bright spot on the phone key pad would not be washed out, an additional
spot reading of that area was taken to make sure that it was not over exposed
by more than 2 ½ stops. A three stop
over exposure would have rendered the area white without detail.
Experience has shown that the
motion streaks will show just fine with the same lighting and a slow tilting of
the camera, lasting about two to three seconds.
This is really not that critical, since it doesn’t matter if the motion
streaks are a bit lighter or darker, as long as they show up well. Please note:
The exposure reading for the phone also determined the exposure settings
for the motion streaks. Moving the
camera for the motion streaks was the first exposure.
For the flame, a spot reading
of the flame, adjusted to a 1 stop over exposure assured that the reddish color
of the flame would be maintained without being too dim.
The rear projection exposure
was determined with a spot reading also.
Incident readings cannot be applied here at all. Of the star field, an area with neutral
brightness was chosen for the spot reading.
The resulting exposure time then rendered the correct exposure.
It is important to note, that
for all four of the exposures the same aperture had to be used. As mentioned
already, a change in aperture will slightly change the size of the subject on
film.
Since all four exposures show
the same subject, this must be avoided.
To select an aperture which gave enough depth of field to cover the
subject and the rear projection image, the screen was put in place initially,
but then was removed for the first three exposures.
I have found that many such
photographs have more than just one solution.
I would be very much interested in hearing about some other ideas how
this photograph could have been made.
Such a photograph is obviously beyond everyday shooting. If anyone has any questions regarding how this
was done or to clarify any of the techniques described, please let me know and
I will gladly get back to you with an answer.
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