PhotoelasticityThe Quick How To
Photoelasticity? We know, it sounds totally made up, but we promise you it’s real and it’s amazing. Have a look at these examples from our very own iPhotography member Audrey Schweikert…
How To Set Up The Photo
Let’s begin by donning our lab coats and setting up this photoelasticity experiment!
Not all objects are going to give you this effect, so you may need to pop to the store to get the right equipment, but it won’t be expensive. Transparent plastic is what you’re looking for (hard and thin materials work best).
Think plastic cutlery, rulers, storage boxes, packaging, dummy CDs or cups for example. Whatever you can lay your hands on within your budget will be enough.
You’re also going to need a circular polarising filter for your lens. Again, they are fairly inexpensive, and you’ll use it more times than just this tutorial, especially if you love landscapes, so it’s worth the investment.
Elastic Fantastic: You could also use the lenses from a pair of polarising sunglasses if you don’t want to buy a filter.
Next, sandwich your plastic props inbetween two polarisers. The front one will be your lens filter but the other one needs to be underneath your props. So, what could we use for that?
Well fortunately there is a linear polariser built into most modern laptops screens, computer monitors and tablets – lucky for us! Lay your laptop or tablet flat to act as a surface for your plastic props and make the screen white.
With the props all set up and curtains closed, it’s time to get behind the camera.
There aren’t any. It’s the truth, no particular camera settings are needed. Bar two:
- Don’t use a flash
- Set the camera to manual focus as it may be tricky for the AF to see the lines of contrast between a transparent object and a white background.
Take the polarising filter and loosely attach it to your lens. As you turn the filter to tighten, you’ll see the elasticity effect emerge on your screen. Stop turning the filter when the background is looking perfect and take your shot. The stress colours should look vivid and striking on screen.
Building a Composition
Make the most of this technique and start to build strong compositions once you’ve mastered the setup.
Using a mix of plastic cutlery, create symmetrical shots worthy of any high brow restaurant, by alternating positions and creating a sense of repetition.
Have a go at layering your shot by placing crinkled transparent plastic underneath/behind your main prop and watch how the light passes through both differently. It’ll give you a unique background if you don’t want it white.
If you have a few different plastic props, throw them all into your shot and capture a bit of a jumbled mess – just like an airport baggage x-ray.
Be as abstract or as minimalist as you want. Don’t just get lost in the effect of photoelasticity, remember there’s always an opportunity to make an eye-catching composition.
How to Turn it Black
Just like Audrey’s photographs at the start of this tutorial, you can invert your shots to make the background black if you prefer a darker effect.
The pictures speak for themselves, don’t they? Photoelasticity is really a wonder of science and a great technique that we can use to capture beautiful abstract photographs. If you’ve been a bit of an Albert Einstein and carried out this experiment too, then share your results with us and tell us what you thought.
- Are there some plastic props we didn’t think of?
- Did you find a different trick or composition that YOU love?
- Found any interesting editing effects that you could add in?
If so, share it with us in the feedback gallery so we can all have a good natter about what worked well.
What Others Are Reading
iPhotography Course not only teaches you all the standard technical expertise, settings, skills, and special effects with your camera – but we also show you how to use these skills to develop your own individual style as a photographer.
We don’t know where they come from, how they started or how to get rid of them. But we’ve all got them. Figured it out yet? Yes, we are on the hunt to discover (and eliminate) our bad photographer habits.