PetaPixel

Tutorial: Creating a Surreal, Conceptual Photo Using ‘Zone Lighting’

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In this tutorial I’d like to demonstrate that you don’t need expensive studio flashes to create a complex scene with subtle lighting. I haven’t yet seen anyone else do this quite the same way and there doesn’t seem to be a name for it, so I named the process “zone lighting”, a form of exposure blending by dividing the scene in different zones. But let’s start with a little bit of background about the project and its concept.

The Concept

Our biggest and most stressful project in life may be the reinvention and reformation of our own selves. The path is often littered with self-doubt, and it takes real courage to plow through struggle after struggle. The “Seamstress Of Her Own Destiny” tells the true story of a young woman’s dream to become a professional flamenco dancer. She takes her dream very seriously and devotes most of her time and energy to training. But still, she never quite feels that her efforts will suffice.

After our kickoff meeting, I developed the concept based on an earlier idea of mine: An old woman sewing a long dress that flows onto the floor and ends in a young, beautiful woman, the old woman’s former self. However the concept of “sewing oneself” could perfectly be applied to the flamenco dancer’s story.

In the following weeks, the two main characters were established and a number of rough sketches drawn. A woman in a peasant’s dress is sitting in a dark room and working very hard and desperately on an antique sewing machine. A second woman of ethereal beauty, wearing a gorgeous flamenco dress, is rising from the floor, like a flower growing towards the light of the room’s single window.

Included props: A gramophone to signify the relevance of music in the story, and green ivy to signify the process of growth as well as to close a visual loop between the two women.

First sketch

First sketch

Final sketch

Final sketch

The Zone Lighting Process

The photo was shot using only three small speedlights, following a work process I call “zone lighting”. The inspiration for this technique is the “plate shot” commonly used in commercial photography. Before shooting, I had split the scene up into different zones: persons, props, decorative elements, parts of the room (like the back wall or the ceiling), important transitional zones (e.g. the extended white skirt from the table down to the floor) or simply areas that I needed to light separately for practical reasons.

After the initial setup of the whole scene, making sure everything was in place and in visual balance, I started to work through the zones from back to front — much like a painter covering the canvas layer by layer. My DSLR was locked on a sturdy tripod and tethered to my iPhone using an ad-hoc WiFi connection, so I was able to adjust the lights, trigger the shutter and immediately see the result on my phone display, using the “EOS Remote” app.

Working with zones had two major advantages. First, I was able to focus my attention on one image area at a time in order to light it beautifully and with purpose. Furthermore, it didn’t matter if my light stands were somewhere inside the frame, as long as they weren’t in the zone I was currently working on. I just had to make sure to have complete scene coverage with all my zones and that the lighting quality, angles and intensities weren’t too different between neighboring zones.

Zone lighting the ivy

Zone lighting the ivy

Zone lighting the gramophone

Zone lighting the gramophone

Zone lighting the front of the sewing machine

Zone lighting the front of the sewing machine

Zone lighting the woman on the floor

Zone lighting the woman on the floor

For the color scheme, I decided to go for a range of cooler color temperatures to underline the mood of the story. I set my camera’s white balance to tungsten, which shifted all lights towards the blue spectrum, including the afternoon sunlight.

On the right side of the frame, I added yellow gels (not CTO gels) to the two speedlights and the tungsten white balance transformed their hue from yellow to a pale green. These two strobes and a little bit of trickery were used to mimic the light emanating from the lamp.

The backside of the lamp was covered in aluminum foil. Into this reflective surface I shot a speedlight from further behind the lamp. The flash hit the round surface of the aluminum foil and spread to the back wall, ceiling and floor. By mounting that speedlight on a horizontal boom, I made sure the shadow of the stand would fall on an area which would be easy to remove in post.

For the lamplight facing the camera, I used a separate speedlight in a beauty dish to direct it wherever needed within a certain zone. I added some example shots to this tutorial, where you can see how I lit different zones separately. To achieve maximum control on the window side, I placed an upright striplight modifier with a speedlight inside next to the window. I kept it there for most of the zones, just pulling it a little closer for the detail shot of the front of the sewing machine.

Mimic lamp light

Mimic lamp light

Natural lamp light pattern

Natural lamp light pattern

My model had very little prior modeling experience, but as a dancer she had a highly developed body awareness. When I directed her into a certain pose, she would fall back into it every time, even while throwing her hair back simultaneously. She also managed to push herself up from the floor without looking strained by focusing on being drawn towards the light. So it was rather her back that held her up, while her hands and neck were able to relax.

Post-Production

My post-processing approach can be summarized in these consecutive steps:

  1. Compositing (saved separately and flattened for use as a starting point for the next steps)
  2. Beauty Retouching (on her skin, eyes and eye lashes)
  3. Light dynamics (darkening backgrounds, brightening foregrounds, adding a glow around the lamp and a light beam from the window)
  4. Color (desaturating the image, especially the red tones from the wooden bars, careful balance of the blue and green side of the image)
  5. Texturing (a subtle surface texture was applied to the back wall and blended with the natural light pattern from the lamp without the aluminum foil)
  6. Selective Sharpening (only in key areas, like the: facial expression, patterns in the costumes, brand lettering of the sewing machine).

When combining the images I shot in the zone lighting process, I used either masking to tell photoshop for each photo where its zone is (the part of the image, where I was focussing on in that individual exposure). Under ideal circumstances it’s sufficient to use simply a “lighten” blending mode, because it will simply ignore all pixels that are darker then the pixels of the layer(s) underneath. More often then not, the light equipment still needs to be manually masked out though.

This technique has it’s problems though. Moving objects (like leaves in the wind) will create ghosting (the same way they would in a multi-exposure HDR), also if your camera is not 150% solid on the tripod, using lighten mode will accumulate the noise of all the exposures and of course make the compositing process much more tedious. Wind is the main culprit of camera shake, but even a wooden floor that ever so slightly wobbles can cause problems.

Zone-lighting for the woman on the table

Zone lighting for the woman on the table

Technical Details

Camera: Canon 6D
Lens: 50mm F/1.4
Aperture: F/5.6
Exposure: 1/50s
ISO: 200
Flash: three small speedlights triggerd with PocketWizard PlusIIIs (see above text for details)
Modifiers: Lastolite Hotrod Stripbox, Sambesi beauty dish
Color Balance: Tungsten
Post-Production and Compositing: Adobe Photoshop CS6
Tripod: Manfrotto MT057C3 + MH057M0-RC4

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You can find a higher-resolution version of the final image here.


About the author: John Flury is a professional photographer/photo designer living in Zurich, Switzerland. He focuses on story-driven concept photography and portraiture. You can find out more about his work on his website/blog and his Facebook page. This article originally appeared here.


 
  • Alex Minkin

    I believe thats called ‘light painting with strobes and compositing multiple images together”. most of us do it. like, all the time.

    Big lights, small lights, speedlights, kino flos, home depot lights, LED’s, lanterns, candles, doesn’t matter, the right light for the right job, I don’t care what you used.

  • William Wolffe

    Then you obviously don’t need this tutorial. Thanks for letting us know that you already knew how to do it. Now, move along.

  • William Wolffe

    @John Flury Really nice image.

  • Syuaip

    Nice concept. Well execution.

    Kudos!

  • Alex Minkin

    he said irately for some reason, missing half the point…

  • gunman

    What??? Sorry but I don’t see anything spectacular here. If this is all done with one shot using twins as a subject with all the lighting setup… maybe..yeah. But since photo editing is already involved here, it makes no sense to me.

  • Edgardo Contreras

    exactly!!

  • Rabi Abonour

    Why would this be “better” with twins and a single exposure? What matters, artistically, is the final product. I think this is a pretty cool project. On top of that, I think the process is fascinating and well-executed.

  • Rabi Abonour

    It’s pretty silly to publish a post where the author says no one does this when Petapixel has published multiple posts on multi-exposure light painting, including one very recently. However, this is a well-executed example of the technique explained well.

  • http://ericleslie.com/ Eric Leslie

    And what truly “spectacular” photograph have you created that was featured on petapixel? Why does everyone feel like they need to criticize people that actually create something.

  • Hicksonjohn

    Love my job, since
    I’ve been bringing in $82h… I sit at home, music playing while I work in
    front of my new iMac that I got now that I’m making it online…
    ,=====<<>>====
    w­w­w.j­o­b­s­3­4.c­o­m====<<>>====

  • PatrickDonovan

    Start working from home! My wife started freelancing from home by doing a simple job that only required a computer and internet access and now we can't be happier... It's been 6 months and since then she brought in total of $40,000... It's amazing and it's so simple...She love it... Anyone who needs an extra job, go for it... The best part is that you can decide when to work and for how long... She is working for 5-8 hours a day, 4-5 days a week... Also good thing is that you get payed weekly... Check it out yourself>...Gig25.cℴm

  • Alex Minkin

    its not being critical of the image, which is actually very well done, it’s more the hubris of saying ‘this has never been done, so I have named it ZONE LIGHTING’ which is not even a particularly original name, let alone an original concept. I think its hilarious that he thinks he’s never seen any other photo created like this.

  • Vin Weathermon

    I guess Petapixel has more than its fair share of idiots who think their unfounded criticism makes the world a better place. For example, the super experts who say that the author claimed this has never been done before; the author said “I haven’t yet seen anyone else do this quite the same way..” So you make the leap of judgement, and blast away. WTF is wrong with you? And criticizing the techniques that composite and use photoshop as though it is no longer valid? Are you spending your time creating artistic photographs like this photographer, or seeking articles to piss all over? Why on earth can’t you appreciate the work of another, without trying to defecate on the whole thing? What is wrong with you people????

    The work is creative, difficult, and required thorough execution. If you cannot see that, you are lost and your commentary means nothing. Frankly I wish you would stop commenting. It is distracting, useless, and nobody wants to hear it. If you don’t like it, do nothing. No comments send a loud and clear message all by itself.

  • Brian C

    I’m gonna agree with Alex here. He has a valid reason for his criticism, if we can even call it that. Also, I think I’m misunderstanding what you’re saying. Basically what you’re saying is that having a spectacular image featured on petapixel grants you the license to provide criticism. Otherwise, you can’t? C’mon.

  • John Flury

    Hi guys and thank you all for your comments on my tutorial! The internet being what it is, I expected some criticism (even hostility). But my intention was to inspire you with this simple technique that IS of course related to light painting, multi-exposures, blending photos, creative compositing, the “plate” technique, etc. However I wanted to boil it all down to the core concept – focussing on a zone within the image and lighting that zone. While it’s not a totally and radically new approach, it’s an alternative way of working – one that’s closer to traditional painting on a canvas. As such, I believe that the process has it’s big creative merits. I am happy to hear that most of you got that and find my tutorial useful.

  • Alex Minkin

    bring me a ‘here’s how i did this shot’ and i’ll be interested. tell me ‘its never been done before!’ i’ll probably find it being done before.

    but then when an armchair photographer like yourself tries to tell me that I must be wasting my time and not creating artistic photographs because I didn’t gush glory and praise all over a nicely done photo, I’ll just laugh. I’ll laugh all the way to my next job, and the next, and the next.

    I’ll especially laugh when you tell me my commentary means nothing, while you spend a giant paragraph hounding after it.

  • JoanieGranola

    I think it’s a beautiful image and I appreciate your sharing how you accomplished your shot. Thank you.

  • AlphaValues

    A very well done tutorial. The attention to detail and the effort to explain the reasoning behind your decisions is applauded, Mr. Flury.

  • LloydAnthonyPhotography

    well thought out composite cool concept and lighting. Great art at the end of the day.

  • Carleton Merriweather

    @alexminkin:disqus

  • carl

    how long did you read this post before you realized you were superior in every way? i don’t read a recipe for ice cubes and then crap on it because i know how to do it already. so the guy’s an amateur, move on.

  • Alex Minkin

    how long did you not spend reading any other comment on this page in which tens of people realize the exact same thing as me, then try to pull a holier-than-thou comment?

    and of course John isn’t an amateur, since the photo was done quite a bit nicer than most, so I don’t know why you’re trying to insult him.

  • 11

    I agree with Alex.

  • 11

    Alex will move along, but you might be stuck with a not common nomenclature and made to believe this is something new. Good luck with that.