Fireplaces, Candles and TV Screens
Over the past few years there are several technical questions that I seem to answer on a fairly regular basis. These questions deal with photographing fireplaces, candles and television screens in an architectural view. Here are a few guidelines that I use when including these elements in my photographs:
Fireplaces
If you've ever photographed an actual blazing fireplace in an architectural view you know that it will nearly always be blown out–especially with long exposures. Wood fireplaces produce the greatest flame exposure and gas fireplaces slightly less. In nearly every case you'll find that an actual fire produces far too much exposure for a pleasing photograph. Unless you're going for a "blazing inferno" look you'll nearly always have to modify the flame source.
Over the years I've tried a number of things in an attempt to limit the fire exposure, and have come upon an easy method for producing realistic and controllable fire exposures. The technique differs from gas to wood fires, so let's look at both separately:
Gas Fireplaces and Fire Pits:
You'll encounter two types of gas fireplaces: sealed and open. The sealed variety are usually found in residential applications and have a direct vent system. Sealed gas fireplaces require a "warm-up" period to reach their full flame potential (usually about 10 minutes). This warm-up also burns out the moisture in the fireplace chamber (initially the fireplace glass will fog up and then gradually clear). This type of fireplace is most often switched from a standard light switch near the fireplace. After the fireplace has warmed, locate the burner adjustments behind the thin horizontal access panel below the fire box. Inside the access panel you'll see an on/off valve for the gas supply, an on/off/pilot switch, and a flame adjustment control. I recommend setting the flame adjustment to it's maximum setting to start with, and then adjusting downward as needed. Now proceed to compose and light your shot and evaluate the flame exposure. Make certain that your fireplace has fully warmed before adjusting the flame intensity.
With an open chamber gas fireplace you'll find several artificial logs arranged to appear as natural logs. Beneath the logs you'll find a gas burner and possibly an igniter. Often this type of fireplace requires manual lighting. First, make sure that the flue is open! I use a small flashlight and stick my head in the fireplace to verify that the flue is open before lighting the fireplace. The procedure is to light a long fireplace match and then open the gas flow using a keyed valve near the firebox. The flame can be adjusted using the gas valve. My experience is that the flame from open chamber gas fireplaces are usually too "aggressive" to give proper exposure. In this case I use the following technique:
1. Tear a full newspaper page into fourths.
2. Loosely crumple each 1/4 page and place out of site between the artificial logs.
3. Quickly light the crumpled newspaper using a butane match (I don't use matches because of their residual smoke).
4. Begin making exposures. I usually shoot four to six exposures and then pick the best flame shape.
This method gives a realistic and controllable flame without excessive exposure value. Newspaper gives an attractive orange flame, lights easily and burns predictably. I do recommend "warming up" the artificial logs before using the newspaper method. This will give them their proper warm color rather than their cold concrete look. I use the newspaper method for outdoor fire pits as well, and recommend a generous warm-up for the logs or gravel. Use care after you turn off the fire pit and place the crumpled newspaper as it may burst into flame spontaneously.
Wood Fireplaces:
I employ the 1/4 page crumpled newspaper method for wood fireplaces as well. However, there is some prep work that will make things look more realistic. First, always make sure the flue is open! This is easy to overlook if you're in a hurry. Take it from me, the last thing you want is a multi-million dollar house filled with smoke and the fire-suppression sprinklers activated. (I'm speaking from experience here!)
I like to start with fresh logs and then arrange them in a fairly deliberate manner. Next, I use a butane match or better yet a propane torch to scorch portions of the wood. Be careful not to ignite the wood. All we want to do is darken and blacken some areas of the logs to make the fire look believable.
I then place two or three crumpled 1/4 sheets of newspaper in the crevices of the logs. This technique allows you to choose where the flames come from, so give this some thought. Again, once my assistant ignites the newspaper I begin making exposures.
Candles
Nothing adds a touch of elegance to a residential interior like a few well placed candles. I usually carry a box of white tapers with me when I go on location. The last thing you want in a shot are half-spent candles with wax drips.
An important part of a good candle flame is a well-trimmed wick. I like to trim wicks to about 3/8" for most applications. This length of wick produces a nicely sized, well-proportioned and stable flame. A too-long wick will smoke and flicker wildly, while a too-short wick will struggle to stay lit.
It's important to let a candle "burn-in" a bit to produce a stable (non-flickering) flame. Once the candles are placed in the composition I usually have my assistant trim and light the candles while I finish establishing overall exposure.
As you probably already know, the smaller the lens aperture the greater the star-burst and twinkle you'll get from the candles. On the other hand, wider lens apertures produce soft, glowing flames.
TV Screens
In the days before digital, TV screens were a bit of a pain to capture and reproduce well. Nowadays, the process is fairly simple and quick. Here's how I go about capturing an actual TV or computer screen image in a shot:
1. I first establish my overall room exposure without regard for the tv or computer screen exposure.
2. Next I turn off all room and auxiliary lighting and establish my screen exposure.
3. With the camera and tripod "locked down" I make my room exposure using all necessary lighting.
4. Next, all room and auxiliary lights are turned off and with care not to move the camera the screen exposure is made.
5. In post production I bring both images into Photoshop as layers, with the room exposure on top.
6. Using the lasso tool I select the screen portion of the image with a slight feather, and then erase through the selection to reveal the screen image.
7. I then flatten the layers to produce the final composite image.
As with most Photoshop techniques, there are a myriad of ways to combine the two layers--I've just shared my personal preference. Please don't write me with your own solution.
Another technique that I employ more often than the one described above entails adding an image of the clients choosing to a blank screen. Virtually any photograph can be made to be believable as a screen image with the proper technique. This technique is often used when the actual screen image may be copyrighted, or otherwise not released for usage in the photograph you're producing. Here's the technique:
1. Again, I bring the room image and the potential screen image into Photoshop as layers.
2. As with the example above, I select the screen from the room exposure using the lasso tool with a slight feather.
3. I then select the photograph to be used as the screen image and transform the shape and perspective in Photoshop to match the existing screen perspective.
4. I then erase through the room layer to reveal the new screen image.
5. To make a photograph believable as a screen image you'll nearly always need to reduce its contrast and sharpness. I do this using a slight gaussian blur and levels or curves. It helps if you've got a real screen to use for comparison. You may also have to add a slight bit of noise to the image.
6. Finish by flattening the layers to produce the final image.
All the best,
Alan Blakely, Director
