Twinkling blackness entirely envelopes camp. Last night’s radio
readout still echoes in my ears, today marks the closure for hiking
in the backcountry. Thankfully, both Carter and Jamie have stopped by
to celebrate, having already spent most of the day baking. Nearly all
of my staff are content with turning in early, but Jimmy decides to
join us as we head up to our turnaround for a completely unobstructed
view of the Milky Way. Lying underneath the shimmering expanse, we
recount summer’s highs and lows while satellites blink in and out of
visibility. Spinning and spinning, time wanes on, yet I feel more at
home than ever before.
Light Painter Janne Parviainencomes from Helsinki, Finnland, also known as JANNEPAINT, is a full time artist who has been snapping photographs for over fifteen years.
Like many light painters his discovery of the medium was an accident. In early 2007, Janne was out at night capturing long exposure photographs and accidentally bumped his camera, when he looked at his photograph the street lights had left streaks that appeared to be writing in the image; from that point on Janne was a Light Painter.
Janne is well known for his light painting figures and recently he has been producing some amazing skeleton imagery. His favorite things about light painting are the urban exploration and the constant source of inspiration that it provides him. For more of his photos visit 500px.
Today the Department of Luminous Light Painting is enjoying these dreamy photos taken by Ontario-based photographer Stephen Orlando, who uses programmable LED light sticks attached to canoes and kayak paddles and actual people to capture these beautiful long exposure photos of the motions they generate while canoeing, kayaking and swimming. These photos are particularly lovely because Orlando hasn’t just captured the movement of his subjects, but also the reflections of the lights in the surrounding water.
Introducing Pixelstick — The Light Painting Tool Of The Future
Have you ever dreamed of creating magical scenes with just the wave of your hand? Wish no longer — Pixelstick makes that dream a reality! Packed to the brim with 200 full color, high fidelity LEDs, the 1.8 meter long Pixelstick is your ticket to incredible, mind-boggling light paintings. It’s now available for the first time in the Online Shop! http://bit.ly/1x0DevJ
I create light images using just the camera and a range of light sources. All of my images are real. What you see, is what I shoot. My work is featured in media (from international publications like Vanity Fair, European TV through to hundreds of blogs and newspapers etc) as well as collected and exhibited across the world.
Today we learned that attaching fireworks to a small quadcopter drone and taking long-exposure photos as it flies around gets you right into the Department of Luminous Light Painting. That’s exactly what professional concert photographer Calder Wilson did to create these three awesome photos.
Wilson is still experimenting with this technique, which he started testing back in January using fireworks leftover from New Year’s Eve celebrations.
“…Wilson recommends that firework drone photos be done with at least two people. You’ll need to carefully plan triggering the camera shutter, lighting the firework on the drone, taking off, and piloting while the camera is exposing the shot. In one of his shots, Wilson managed to capture a prominent moon halo behind his firework light trails.”
Behind the scenes. Shooting pitch-dark places in general is a bit of a pain; great care has to be taken to portray the space accurately but without a ton of harsh shadows or reflections which add an air of artifice to the image. The difficulty grows exponentially with the size of the space - so basically, it’s a royal pain in the ass to light a dark theatre capable of holding thousands. But that’s exactly what I did about half a decade ago, at the RKO Keith’s Theatre in Queens. I’d already blown through all the juice in the lead acid battery for my 200 W/S portable Norman strobe on my first exposure of the day. For my second, I would have to get creative; on hand, I had 3 diffused low-output LED lanterns, a 78 W/S Canon Speedlight that ate 4 batteries and part of 4 more during this shot, and a 100 lumen tactical torch. It took two attempts, both half-hour exposures, to get this shot. The lanterns had to be carefully arranged; I had to make sure that I was cloaked in all-black and out of scene as I popped off the speedlight; the torch could only illuminate details (such as the box seats to the left of frame). Finally, after running around lighting for a half hour, and then waiting another half hour for a dark-frame to cancel out long exposure noise, I was left with this - and quite satisfied.
Now, how can you take your analogue light paintings from the ordinary to the outstanding? After the carriage came the car, so we definitely need some spacy inventions to follow the old school light pen. So here it is, our new best friend: The Pixelstick! http://bit.ly/1BwHazz