Daylight Light Painting
This page is in development.
Light painting (also called light writing, light graffiti and light art) is long-exposure photography using lights to create patterns and shapes, and add effects into the photo not there in real life. Light painting does not impact physically on objects or buildings since the light is only captured on camera. The process usually takes place at night or in very dark environments, but this can create access difficulties.
Daylight Light Painting evolved as a response, allowing me to work in subdued daylight conditions. Originally devised as an access solution for D/deaf young people, the development and testing of new tools and processes has lead to me creating my own work using this technique. While I need to be able to subdue lighting, the workspace does not need to be blacked out; the lowered image light levels are created in-camera and not through post-production techniques.
Making the light tools is a key element of this process. While commercially available tools can give astounding results, they are not financially (or physically) accessible or suitable for the processes I use. Researching and adapting materials and finding low-cost alternatives, plus the 'hidden' geometry of many of the images shows clear links to other strands of my practice.
Light painting (also called light writing, light graffiti and light art) is long-exposure photography using lights to create patterns and shapes, and add effects into the photo not there in real life. Light painting does not impact physically on objects or buildings since the light is only captured on camera. The process usually takes place at night or in very dark environments, but this can create access difficulties.
Daylight Light Painting evolved as a response, allowing me to work in subdued daylight conditions. Originally devised as an access solution for D/deaf young people, the development and testing of new tools and processes has lead to me creating my own work using this technique. While I need to be able to subdue lighting, the workspace does not need to be blacked out; the lowered image light levels are created in-camera and not through post-production techniques.
Making the light tools is a key element of this process. While commercially available tools can give astounding results, they are not financially (or physically) accessible or suitable for the processes I use. Researching and adapting materials and finding low-cost alternatives, plus the 'hidden' geometry of many of the images shows clear links to other strands of my practice.
