Forgotten in its old age

by Aditya

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To achieve what you describe requires 3 separate exposures - these can all be achieved within the same frame with due care. To get a clear but ghostly image the ghost either needs to remain in one place for part of the exposure or be flash-lit at the point where it needs to be clear. To get a blurred moving ghosts image the ghost needs to move through the ...


It depends on whether you want the ghost to appear as if it's moving or is still. If you want it to look like it's moving then use long exposure & let the ghost move and use a flash on the normal person so they would get propper exposure. If you want the ghost to appear as if it's just standing there then you can either have soft edges & ghostly ...


This is two exposures combined. Both the "ghost" walking across the street and the "ghost" sitting on the bench are the same person in different costuming. larger size If you want one person to be a "non-ghost", they would need to sit perfectly still in the same pose for both exposures. In this one the "ghost" behind the bar was in only one exposure of ...


I'd suggest combining a long exposure with flash/strobe if you have access to it. This will give you a sharp exposure of the non-ghostly subject. You'll still need to get them to sit still but the result will be much sharper than just using ambient light. Alternatively if your camera supports it you might be able to double expose a frame. A long exposure ...


Exactly as you say, a long exposure will do the trick... You should use a filter if you are shooting at daytime, otherwise you will perhaps need to compensate the exposure in postprocessing... Your subject (the real one) needs to be very steady so it is sharp while the ghost who is moving will be blurred... Good luck! P.S.: tripod is a must!


I did some experiments on a 9mm pistol barrel, which is 20% narrower than the .45 used in the reference photo. The barrel I used was potentially 1 inch longer than his (I used a 5.3"; he may have used a standard 5" 1911 or a 4.25" Commander-length). I used a 300mm lens placed at the minimal focal distance (5 feet) and ran it with minimal aperture ...


When reverse engineering a lighting setup always apply the principal of Occam's Razor: among competing hypotheses, the one with the fewest assumptions should be selected Before introducing exotic lenses or beam splitting mirrors, let's examine the requirement for the incoming light to be perfectly aligned ...


The photographer shows and discusses his lighting set up here: Also, he mentioned elsewhere that he uses focus stacking.


Another possibility is that it could be actually two exposures edited into one. For the hole, a long exposure could be used that captures the ambient light and from the tip outside is a regular exposure. It could also be a very long lens with two or more light sources on opposite sides of it to avoid shadows, again with two exposures, because the rest of ...


I can see two possible ways this shot was done: Light was injected where the cartridge would go. We can't really see what is back there in the picture. Some LEDs could have been carefully placed inside or almost inside the gun, and the wires run so that they would be obscured in the picture. A beam splitting mirror was used. The camera was looking thru ...


This is just a guess and may not be the way these photos were created, but one way to produce such a shot would be with a mirror lens. A mirror lens is a catadioptric system similar to a Schmidt-Cassegrain or Maksutov telescope. All of these systems have a fairly large secondary mirror placed in the center of the main objective lens and all of the light ...


Film negatives are only light-sensitive while in the camera, until they are removed and processed. The processing includes a step to "fix" the image so that the negatives will not be further exposed by light. So once processed, film negatives (and slides) can be handled in daylight.

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