Shack with Red and Green Interior Lights. Mare Island Naval Ship Yard, California. February 26, 2011. © Copyright G Dan Mitchell – all rights reserved.
A small shack with interior lit by red and green lights at the Mare Island Naval Ship Yard, California.
At last weekend’s night photography shoot with The Nocturnes at Mare Island Naval Ship Yard I wandered a bit further afield than I have on some previous visits, eventually ending up in an area where I have only photographed once before when I unsuccessfully shot a couple of large barn-like buildings. (I think I have a shot of these buildings from this trip that I like, and I’ll post it later on.)
While spending nearly a half hour photographing a light post against the backdrop of a very dark brick building (which amounted to two photographs, given the long exposure times and the follow-up “dark frame exposures) I kept thinking I saw a faint red glow inside a small nearby building. At first I thought that one of my fellow night photographers might be doing some light painting, but the light seemed awfully dim. Eventually I noticed that it was also quite constant – and light painting virtually always involves moving the hand held light source around in order to get a smooth lighting effect. Once I finished shooting the light pole (unsuccessfully, it turns out) I decided I would go over and see what was creating this light.
The buildings appears to be a small “guard shack” or similar, a very old and very dilapidated one room structure. Inside, as best as I could tell, there is a small table, a few chairs, a digital clock of some sort with green letters, and some kind of very dim red light. Intrigued, I decided to see if I could photograph it. One technical problem was going to be the very large difference in lighting between the bright light on the clock and the extremely dim exterior, made worse by the dark color of the building. I figured that I could probably put enough extra light onto the building’s exterior using a very small key chain LED light than I happened to have with me, and that is the major source of light on the front of the building and on the yellow foreground curve – I simply walked around on both sides of the building and moved the small light over its surface.
In the end, I think this is another example of night photography as a source of a certain kind of “fantastic” lighting. The actual scene was very, very dim, and the the intensity of the colors here is almost entirely the result of the very long exposure and a bit of improvised lighting on the yellow curb behind the fence – a photograph of something that cannot be seen with our own eyes.
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Lots of interesting thoughts and observations, Ben.
I puzzled over where to put that fence in the composition. The natural instinct (especially for those of us who shoot landscape!) is to want the fence to disappear! However, this one wasn’t going anywhere and it is part of the scene. The real trick was light painting the front of the building without getting too much light on the fence. I had to do some improvising with my hands to block and shape the light.
I don’t worry about the sensor, and I haven’t really noticed that the images change much if at all over a series of exposures. However, it was cold out! That may help in a situation like this.
Dan
I like this photograph…it doesn’t bother me that the chain link fence is there and the primary subject (color red) is in the center of the photograph as it all works together for me. It would be fun and probably a chore to try to remove the chain link fence with “content aware”.
I wonder how hot your sensor got during these long exposures?
Ben