via Faith is Torment
Also known as Tackyshack, Virginia-based photographer Jeremy Jackson, creates, in both in 35mm film and digital light paintings in-camera without any Photoshop.
“The world is your canvas. Anything you can imagine can be painted a million different ways, time and space take on new meaning. Light is the brush and the environment is the canvas.”
via Design Taxi
Light Rorschach by photographer Nicolas Rivals uses a torch light and a camera with a long exposure to draw.
…turns observer and observed through the eyes of spirited but ultimately see some of your own personality and therefore yourself. Cross between the work and the viewer as an introspection looks these masks seem to shout.
“Tell me what you see and I’ll tell you who you are.”
We saw LightSpin about a month ago and were blown away with the meticulous effort and clarity of vision from Eric Paré that were needed to achieve the effect. As promised, here is the Behind The Scenes video.
From the project page:
"This is the story of how I managed to take half a million pictures of contemporary dancers in the dark using light-painting, stop-motion and bullet-time techniques."
Artist James Nizam precisely cut the exterior of the house, employed small mounted mirrors on ball joints, and studied the summer sun's movement to create these light sculpture and capture these normal exposure images.
New York-based photographer Brian Maffitt created these stunning long-exposure light painting photos by projecting a movie onto the falling snow of the storm that hit the Northeast in order to light up the snowflakes.
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Decades ago American artist Eric Staller would find spots in the empty streets of New York City to use his Nikon 35mm SLR camera, sparklers and a set of Christmas lights.
"New York City at night was an enchanting place for me. The plazas, bridges, parks and monuments, empty and eerily quiet at night, were dramatic stage sets waiting to be transformed. Transformed by my magic wand: the 4th of July sparkler. Late at night I drove around in a beat-up station wagon, looking for places and ideas to jump out at me. When the moment was right I set up my Nikon on a tripod and planned a choreography with light. Each sparkler lasted about a minute, so that was the amount of time I had to make the drawing. I would lock the camera shutter open, light the sparkler and quickly walk down the street, holding the sparkler at curb level, to complete the composition before the sparkler went out. I felt a strong sense of exhilaration, like running the 100-meter dash with a flaming torch! Getting the film back from the lab was even more exhilarating: it was magic, my presence was invisible! There was just this trail of liquid fire.
Suddenly I was drunk with the possibilities. I proceeded to outline everything for my photos: cars, trucks, streets, monuments. The energy was packed into one-minute performances. I worked through the night and although I was alone and even lonely, my romance for the city was sweet indeed. At dawn I would go to Fulton Street to watch the fishermen come in, or to the Lower East Side for the first hot bagels of the day."
So, these light painting photo mosaics are beautiful. Also, the drawing in photos with light and then assembling into mosaics is about 3 levels of abstraction from the basic idea of photography. The artist Brian Matthew Hart has compiled quite a library of these phenomenal and laborious images.
Amazingly, these abstract light photos from Rick Giles are entirely free of digital manipulation.