June 2025

27 richtaylorphotography.com | FB: richtaylorphotography | IG: richtaylorphoto “PAINTING WITH LIGHT” It is much easier than it seems Painting with light is unique, as no two shots look alike. It takes the right equipment, timing, precision, and, most importantly, practice. This style may seem complicated, but once you get the hang of balancing the exposure time and light motion, the results can be magical. Let’s first talk about the essentials. EquipmEnt nEEdEd: • A camera that allows you to set your shutter speed. Anything from 10-20 seconds will be enough to get started. • A sturdy tripod as you will utilize long exposure, and the camera needs to stand still to avoid blurring. • Light painting tools. I used a handheld Speedlight with a diffuser and an LED slim light to achieve this look. However, a glowstick, sparkler, flashgun, or even your phone will work. • A dark room or area. This area can be indoors or outside. CamEra, LEnS, and SEttingS: I set up my Nikon D750 with my Sigma 85MM 1.4 lens on a tripod: ISO : 100, Aperture : 13, and Shutter Speed : 10. Now let’s get into how I got the shot. It is essential to understand that testing is necessary. With the room light on, I first posed the model and set my focal point. I then asked my assistant to, off-camera, hold the Speedlight very still above and to the right of the model’s face. I turned off the room light, released the shutter, and had my assistant shoot off a single flash of light. This action created a direct light on the model’s face. I then looked at the results. It viewed as too hot, so I reduced the power of the Speedlight and tested it again. I had to adjust the light one more time before it was perfect. Now comes the fun part. To continue testing, as I released the shutter and hadmy assistant shoot off a single flash of light again, I turnedmy handheld LED light on and quickly walked behind themodel while performingmotion with the light. I ensured that the LED’s light was facing the camera and produced enough light for the exposure. The test was successful, and this action created the streaks of light I desired. I performed one last test before we started the shot for this magazine. I tried different light movements from circles to zig-zags, up and down, and a combination of all motions, which gave different results. After looking at each shot, I preferred the circles. With the testing completed, it was time to capture the ‘magic shot.’ We were able to achieve this look by the third attempt. In post-production, I decided to add color to the light. However, I could have added color during the session by wrapping gels around the light source. To view a video of this process, please visit: www.richtaylorphotography.com/PaintingwithLight.m4v Now that we know the actions to take, let’s understand the technicality of this image. When photographing a long exposure in a dark room, the camera will only expose the light it sees and reflects on. The off-camera Speedlight exposed the model’s face with a single burst. Once completed, I quickly walked around the model, moving the LED light in circular motions. Since I stayed in the dark, I didn’t expose myself in the photo. The continuous LED light, which was facing the camera at all times, created the light streaks. A creative yet easy shot once you get the hang of it.