How did your journey with this unique technique begin?
I came into light-painting years ago while working in a full 360-degree environment (24 cameras). I was looking for a way to light up my subject without revealing the cameras. As the studio was extremely small, it was challenging, but lightpainting seemed like the answer. It took me a few weeks to fine tune the technique, and it’s been part of my life since then. For the past six years, I’ve been working mostly with Kim Henry. She is a big part of the creative process and she helps me to stay on the right track.
Your style of photography is radical and rare. Can you give us a summary of this genre and what is involved into the process?
Light-painting is as old as photography, but the way I am doing my indoor work exists because of the obsession I have to craft the light by hand in a studio-type light, without using regular studio equipment. No strobes, softboxes or modifiers are involved in my pictures. Everything is lit by hand in about one second. When I go outdoors with my long tubes, the technique is the same, but I also combine this with landscape photography wherever I travel.
What is the most challenging part of the type of photography that you do?
As I’m doing mostly only long exposure images, having a crisp subject is very hard, especially when working outdoors with the wind and complicated situations. But by doing a lot of repetitions, we manage to create sharp ones. Another thing I can add is the creation of the shapes themselves. Some are really simply (circles), but for the most complex ones, it’s very hard to reproduce, and yes there are a few that I’m simply not able to replicate. But on the other hand, that’s the beauty of this art form. Most pictures are unique.
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