Most film cameras have an ability that we can’t found in most of digital ones. That is the possibility of leaving the shutter opens for as long as we want. For some weeks, if needed.
This is useful for some kind of pictures, where very long exposures are the only solution. Or for the technique known as “open flash”. This was the case.
First of all, I found out the power of the flash (or guide number), that is, the f: stop needed for a given distance and film speed. Then I calculated the among of light retained by each colour filter.
On this corridor with opened doors, I marked the positions for each position for each filter, considering those calculations, being sure that the flash and myself would be out of framing.
All this was the “homework”.
For the picture it self, I asked a friend to be my model, knowing that she had the patience and likes for photography as I do.
I got the camera on a steady tripod, frame it very carefully and adjust the iris for the first exposure. Covered the lens with its cap, opened the shutter and locked it with the cable release.
She went to her position, all the lights were turned off, the lens cover removed and I went to the first position, the “white one”, and fired the flash. She left her position, the lens was covered and the lights turned on.
Then I adjust the iris for the orange light, went to my second position, the lights were turned off, lens cover off and the flash fired. Lens cover once more on and lights on.
And all over again three times, each one with a different filter, and it was done. Just one picture.
The fun with this kind of work is that we can’t see anything. We are photographing in the dark! We can’t see the effect of the lighting, its balance, its saturation, the areas covered or the shadows produced.
We have to believe, or have faith, in our knowledge about flashes, filters, exposures and exposures meters. And know something about mathematics and laws of light. We can’t also see its result the next moment. Or hours. We have to wait until it comes from the lab, hopping we didn’t forgot anything or had the wrong move. And the anguish we fell until we can have the photograph in our hands is also really fun!
I’ve used this “open flash” technique in several situations. One of the most useful is inside churches and other big buildings were the existent light is very dim and we have just one flash to work with. But we have to calculate not just the relation between the power of the flash and the distance of work but also it’s combination with the light that may enter from windows or came from lamps that may be there. And, the most difficult of all, the communication between the one at the camera to cover and uncover the lens and the one firing the flash, with or without filters. They don’t use to like loud voices in a church!
Now a days we have another problem: most of digital cameras don’t aloud this kind of long exposures. Some times, new technologies aren’t the best solution!
About this picture I have a huge doubt, not solved until now:
I don’t know if the best way to see it is the original framing, with the girl on the right, as if she is pushing the wall, or mirroring it, getting her on the left, as if she is holding the wall. I guess it depends on my mood and on what kind of reading I want.
Texto e imagem: by me
This is useful for some kind of pictures, where very long exposures are the only solution. Or for the technique known as “open flash”. This was the case.
First of all, I found out the power of the flash (or guide number), that is, the f: stop needed for a given distance and film speed. Then I calculated the among of light retained by each colour filter.
On this corridor with opened doors, I marked the positions for each position for each filter, considering those calculations, being sure that the flash and myself would be out of framing.
All this was the “homework”.
For the picture it self, I asked a friend to be my model, knowing that she had the patience and likes for photography as I do.
I got the camera on a steady tripod, frame it very carefully and adjust the iris for the first exposure. Covered the lens with its cap, opened the shutter and locked it with the cable release.
She went to her position, all the lights were turned off, the lens cover removed and I went to the first position, the “white one”, and fired the flash. She left her position, the lens was covered and the lights turned on.
Then I adjust the iris for the orange light, went to my second position, the lights were turned off, lens cover off and the flash fired. Lens cover once more on and lights on.
And all over again three times, each one with a different filter, and it was done. Just one picture.
The fun with this kind of work is that we can’t see anything. We are photographing in the dark! We can’t see the effect of the lighting, its balance, its saturation, the areas covered or the shadows produced.
We have to believe, or have faith, in our knowledge about flashes, filters, exposures and exposures meters. And know something about mathematics and laws of light. We can’t also see its result the next moment. Or hours. We have to wait until it comes from the lab, hopping we didn’t forgot anything or had the wrong move. And the anguish we fell until we can have the photograph in our hands is also really fun!
I’ve used this “open flash” technique in several situations. One of the most useful is inside churches and other big buildings were the existent light is very dim and we have just one flash to work with. But we have to calculate not just the relation between the power of the flash and the distance of work but also it’s combination with the light that may enter from windows or came from lamps that may be there. And, the most difficult of all, the communication between the one at the camera to cover and uncover the lens and the one firing the flash, with or without filters. They don’t use to like loud voices in a church!
Now a days we have another problem: most of digital cameras don’t aloud this kind of long exposures. Some times, new technologies aren’t the best solution!
About this picture I have a huge doubt, not solved until now:
I don’t know if the best way to see it is the original framing, with the girl on the right, as if she is pushing the wall, or mirroring it, getting her on the left, as if she is holding the wall. I guess it depends on my mood and on what kind of reading I want.
Texto e imagem: by me
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