Exploring Multiple Exposure
A few years ago I started experimenting with multi-exposure (more about this technique here) – the art of combining several images in one exposure in camera. A year or so in to my exploration I lost interest as my camera could only combine two images as a maximum, in any one exposure, and it simply layered one on top of the other. Recently, I upgraded my camera and the new Fuji X-T4 has the ability to combine up to nine images in one exposure, and has four alternate ways of combining these images. The exploration is back on!
The key question at this point is why would you want to do this? The answer for me is that it opens up the possibility of creating images that can document a place, experience or emotion in a personal, abstract and creative manner. I am also fascinated to compare and combine this with ICM – intentional camera movement. These techniques are not hugely popular, they create photos that can be ethereal, intriguing, emotive and abstract. It is these very qualities that draw me to them and suggest to me the possibility of a personal project. Something I am considering at present.
Meanwhile, practice and experimentation are required to investigate the limitations and possibilities of the techniques. I have learnt a few things so far which I will summarise, but first I wanted to thank my teachers; Doug Chinnery, Valda Bailey and of course Chris Friel. Doug and Valda have worked together to produce some great videos that explore and explain these techniques; they are detailed and generate plenty of possibility. Chris has been producing fabulous work for many years and is worthy of your investigation.
The photo above was created during the springtime explosion of blooms at Clyne Gardens in Swansea. My intention was to create some photos that were inspired by nature’s colours and beauty, and also echoed how such beauty can make you feel. The techniques I used were ME in dark blend mode, creative use of white balance, creative framing investigation, defocussing the lens and three or four layered exposures. Let’s look at some of those choices.
There are four blend modes available on my Fuji, something that is replicated on some Canon and Nikon cameras; they are Additive, Average, Bright and Dark.
Additive – This mode adds each frame on top of the next, in a kind of light accumulation process. It is possible that if you used this on a sunny day that by the time you had added nine images to one exposure you would just be left with a white rectangle. I have not yet explored its creative possibilities, as the other modes have been calling to me. But maybe its limitations would be something that could create unexpected possibilities.
Average – This mode layers each image on top of the next, averaging the opacity. This is the standard mode for digital exposure and it is the mode I used when I had the Fuji X-T2, as it was the only choice. Combined with ICM, defocussing or creative use of the white balance it has possibilities.
Bright – This mode preserves the brighter elements of each image. For example, if your first image was of a silhouette or shadow, the second if brighter could layer the brighter elements over the areas of darker exposure from the first image. This is similar to how a film camera used to capture a multiple exposure. Here is an example.
Dark – This mode does the opposite to Bright mode. It preserves the darker elements of each image. Where there is light, there can be dark! This is the mode I have used most so far in combination with creative use of white balance.
White Balance – All digital cameras give you a level of control over the white balance. The default position is to be in Auto. In this setting the camera tries to produce whites that replicate how you see white light. Of course, your eyes work differently to a camera. They work with our brain to self correct what we know to be white, to look white, even if it is really carrying another hue. For example: dusk light has a blue hue. You don’t notice this, but the camera does. The white balance can then correct this to match how you see. Taking control of the white balance allows you to tell the camera what hue the whites should have, affecting every colour in the frame. Camera manufacturers have different ways of allowing you to influence this. Some require you to know the Kelvin values of each colour. Others have a map of hues that you can pick from. My Fuji has the latter, which makes it dead easy. My experimentation so far has followed Chris Friel’s advice – to use extreme choices.
I have much work to do. I am learning how my white balance choices work with the ME blend modes and the colours of the objects in the frame. I have also learnt that playing with the lens focus can produce interesting softer shapes and patterns. These combinations of blend mode, white balance and lens focus have much possibility and will, I am certain, be used along with ICM to produce an interesting body of work very soon. I the meantime, here are a few of my favourites from the visit to Clyne Gardens.
Do you find Fuji’s implementation of these different blend modes and different to the Canon ones that Doug, Valda and I presume Chris uses. Finding information about the Fuji is provided to be rather difficult. I’d love to know the full implications before I dive into a new camera. Many thanks in advance. Len
Hi Len. I haven’t used the Canon modes, but I believe them from study to very familiar. They are quite new to Fuji, starting with the Pro3 and XT4. I wrote my articles and created a course because of the lack of information. I find the Fuji intuitive to use and the nodes interesting to explore. Cheers. Lee