PASM Night Shoot, Saturday, Feb 2nd, 2019

[Anna M. Wood]

MIG-15UTI Fagot

Used a Yongnuo YN300 III led panel, in a 40cm Godox softbox. About 10-12 layers masked in Photoshop to bring out the various bits on the aircraft. 37mm, f8, iso 400, 2 sec - 8 sec exposures.

[Anna M. Wood]

F-16 Fighting Falcon

[Anna M. Wood]

OV-1C Mohawk

[Brian Corbett]

[\game] 

[Brian Corbett]

Cut The Ribbon

[John B.]

Pretty good work so far!  Thanks again to everybody who dropped in for the evening.  Here are a couple from the evening:


Grumman EA-6B Prowler 158542 "FrankenProwler" par John Bezosky Jr., on ipernity

Douglas F4D-1 Skyray 134748 par John Bezosky Jr., on ipernity

[Joe Copalman]

DARK FORTRESS


SPY TIGER

[Anna M. Wood]

Convair B-58 Hustler

4 frames blended. Lit with a Yongnuo Yn300 III in a 40cm Godox softbox. With some help from Craig Swancy to trigger my camera shutter while I back lit the aircraft on a couple frames, hiding behind the center section.

[Tower Guy]

Well worth all the effort Anna, very nice photo, hard work always pays off.

[Anna M. Wood]

Well worth all the effort Anna, very nice photo, hard work always pays off.

Thank you Harvey....

[Anna M. Wood]

Hawker Siddeley TAV-8A Harrier Trainer



Took me a few attempts to figure out how to post process this and get the 3 layer stack of images to work.

[Joe Copalman]

Took me a few attempts to figure out how to post process this and get the 3 layer stack of images to work.

Must have been something about the Harriers that night, as my 'Fist of the Fleet' Sea Harrier shot on the first page of this thread was also a composite, but only of two shots.  (The doubled shadows are a giveaway, as the two best images I had to 'average out' were lit from slightly different angles). 

I was actually talking about this technique with Doug on the way home from El Centro today as part of a bigger discussion on teaching lightpainting and how to avoid some of the pitfalls like 'splotchy' light on a subject.  I've done composites a few times in the past to sort of 'average out' the best lighting from two or three separate lightpainting shots in cases where I didn't quite nail the lighting in-camera on a single exposure. 

What was your workflow on this one?