Light painting squares
The tool most people associate with my work is the light-painting tube, but there is another one I keep coming back to: the Light-painting Square. It is much simpler in design and much harder to master.
Light-painting square images, from 2012 to 2025. With Kim Henry, Lindsey Stirling, Stéphanie Paquet, Derek Hough, Mathilde Heuzé, Von Wong, and Julia Stewart
What it is
A square is basically a piece of holographic film wrapped around a flashlight. That is it. No elaborate rig, no custom mount, no moving parts. Just light, reflection, and movement.
Why it is harder than it looks
That simplicity is exactly what makes it demanding. The square asks for:
- more precision
- more control
- better timing
- stronger awareness of your angles
With the Light-painting Square, everything in the frame is created during a single long exposure. One tool becomes the brush, the key light, the fill, and the visual effect all at once.
Holding the square around the flashlight feels a little like holding a taco.
Quick starting point
Use this as a baseline and adjust based on your flashlight power:
- Shutter speed: around 8 seconds
- Aperture: f/5.6
- ISO: 200
I personally use a 2000-lumen flashlight, so brighter or dimmer lights may need a different exposure.
How I use it
- Wrap the square around the flashlight with the reflective side facing inward.
- Start the exposure.
- Move the light around the subject to illuminate them.
- Do not point the flashlight directly at the subject.
The effect comes from the light bouncing inside the square, which creates both the trail and the soft sculpted light on the body.
The most important rule
Light your subject once per exposure.
If you hit them a second time, even a tiny movement can create blur. In long exposures, expecting someone to stay perfectly still is unrealistic, so I try to get the lighting pass right the first time.
My usual workflow
Before shooting, I test the light on the subject to find the best angle and make sure the reflection is flattering. Then I usually:
- light the subject first
- add optional traces around them afterward
- avoid touching the subject again with direct or bounced light
That rhythm is what makes the square work. With practice, you start to feel the timing and the flow.
Light painting squares from three angles, with Yui Sugawara
In studio or outdoors
I have used the Light Painting Square in the studio, against black or white backdrops, and outdoors in places like salt flats, rivers, and lakes at night. Every environment changes the result.
What changes from one location to another:
- how much ambient light you are dealing with
- how reflective the surroundings are
- which color will read best in the frame
- how much contrast you can build
I carry multiple colors because each one creates a different signature. Picking the square is part of the creative decision, just like choosing a palette before painting.
Why it matters
The Light-painting Square brings me back to craft. It forces slowness, patience, and presence.
What I love about it is that the image feels alive because of how it was made. It is not a filter, not a plug-in, and not an afterthought in post. It has to be performed in camera.
Where to find squares
DIY first
You absolutely do not need to buy these from me. You can make your own with materials from arts and craft stores like Joann, Michaels, or DeSerres. Look for square holographic sheets.
Another good option is dollar-store gift bags. Some of them work surprisingly well.
Why I also make my own
The versions in my store exist because I wanted options that are harder to find in cheap craft materials:
- more durable construction
- better color selection, especially holographic options like Sugar, RainbowTrout, and RoseBronze
- waterproof versions
My favorite colors
My current favorites are:
- Sugar
- RainbowTrout
- RoseBronze
- Alien
You can find those in both Shapable (paper) and Waterproof (plastic) versions on lightpainting.store/products/squares.