Video created using Animoto.

Here’s a video slideshow created with photos shot using a 400 watt UV cannon as the main light source.  In an earlier post about black light photography, one of the readers suggested trying a UV cannon, a special effects light often used by clubs and DJs.  In my other shoots, I used four 40 watt fluorescent tubes. They worked well, but it would be nice to have a more powerful light source to allow me to use a faster shutter speed and lower ISO.

American DJ UV Cannon

The black light cannon worked well, but was different to work with compared to the fluorescent tubes. The main advantage of the UV cannon was how is easy to set up. You just point it at the model and plug it in. It takes about 10-15 minutes to warm up and gives a good strong light. It can be moved around and repositioned, although it should be turned off and cooled down before moving it to avoid damaging the bulb.

I was surprised that it doesn't give off as much buy ambien online without prescription light as I thought.  I expected it to be much more powerful than the 160 watts from the 4 fluorescent tubes. In practice, it was not really more powerful than the four fluorescent tubes, mainly because I can put the tubes very close to the model most of the time, which is not practical with the UV cannon.  Also, the UV cannon is a hard light source that casts a sharp shadow, making the light quality quite different than the fluorescent tubes.  I surround the model with the tubes, reducing shadows and creating a more even light. I placed a white nylon diffusion panel in front of the UV cannon to help soften the light, which further reduced the power from the light.

Overall, the UV cannon would probably work best placed in front and above the model in a butterfly lighting setup. It also would be best to use when you want dramatic shadows. It's high power would also work great for lighting backgrounds and sets. I'm continuing to explore different ways to use it.

I'm interested in hearing from other photographers who have done UV photography - any suggestions or ideas? What is your favourite UV light set up?

Here's the same video on YouTube for iPhone, iPad, iPod Touch:

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Deep Space 31 by David Hull

I contacted David to find out more about his faux space light art.

Lloyd: How long have you been doing light painting?

David: I've been doing light art in one form or another since late 2006. I say light art, as when I hear "light painting", I think more of the kind of technique one typically sees in Flickr groups such as Light Painting - The Real Deal, and Light Junkies...stuff more along the lines of LAPP, where the camera is usually stationary and artists are moving around with various light sources in front of their cameras paitning in light streaks, etc. While I have done this sort of thing, it's a minority in my imagery.

Most of my early works were Camera Toss (Kinetic series), exploring the interaction of physics and light...a bit redundant, I know, wherein the light sources are usually stationary and the camera is thrown into the air to be acted on by physical processes such as momentum, rotation, gravity, etc. This is usually on a similar scale to the kind of light painting described above, but Waterworld is on a much smaller micro/macro scale.

Lloyd: What inspires you?

David: I'm a scientist (professional geologist) and am intrigued by physics in general, especially as it applies to terrestrial and space phenomena. I'm endlessly fascinated with the interaction of light, motion, and various reflective and refractive media, and the organic patterns that can result from their interactions. The exploration of these interactions forms the basis for my Kinetic and Waterworld image series. The Deep Space (Faux Space) images are an integration of many things I've learned through these other techniques.

I sort of have this childlike idea at the nucleus of my explorations that the images I produce using these techniques allow me to see behind or beyond the immediate dimensions. I'm also inspired by natural light phenomena (sunsets, clouds, shadows, nebula...that sort of thing), as well as abstract art and artists, historical and contemporary.

Lloyd: What advice do you have for anyone who would like to try this out?

David: Be comfortable with and have a good understanding of all the usual photography parameters. Take a look around at what is being done with light art as there are many different kinds of light art being practiced, but don't restrict yourself to mimicking the work of others. Be willing to experiment; to spend countless hours getting nowhere. Although there is certainly plenty of planning and reproducibility involved, there is also a degree of serendipity, and more often than not this kind of light art/light painting is an iterative approach to achieving a desired effect. One also needs to foster a certain sensitivity to the subtle changes in input parameters that can result in significant changes in the end result. Take lots of pictures and analyze them. Piece of cake!

I'd like to thank David for agreeing to share his photos and insights with me and hopefully this will inspire others to experiment with light art. As a scientist-turned-photographer myself, I'm certainly inspired by David's work!

Here's a slideshow of David's Faux Space series:

Related Links:

Max Eternity's Art Digital Magazine: David Hull's Light Fantastic

L'internaute e-magazine article on David Hull's Camera Tossing: Camera tossing (in French)