Too rapidly to see in normal circumstances. I’m talking about lights – usually man-made, but sometimes natural – which are varying in brightness, color and/or pattern very rapidly. LPP ∇ What is it about these Time Varying light sources that draws you to them specifically?ĭB ∇ So I’d better define what I mean by “time-varying light sources”. There were people there using tripods and monopods… not me! Whizz! Sweep! Rotate! Zoom! I was having waaay more fun, and getting much cooler photos too! I remember one night visiting a garden where every tree was festooned in LED Christmas lights. If the image was too dark or light, change the aperture or the ISO. Focus on the light source, then take the photo while sweeping the camera, or rotating it, or zooming it, or any combination of the three. Super quick tutorial: Set the camera to manual, with the shutter speed at, say, 1 second. After all, it’s much easier to shake yo’ camera than it is to wave a row of street lights around in front of a camera on a tripod! I simply move the camera and let the lights’ intricate time-varying activities paint the textures and features. In my case, it’s this variation that is the source of my images.
You’ll see it if you wave a pixelstick too fast, for example. Most light painters will be familiar with LED sources which leave high resolution dashed traces in the image – it’s a side-effect of the type of technology used in the LEDs, and maybe it’s regarded as a cool effect. My images are a “convolution” of the lights’ behavior and the motion of the camera. Whereas most painters use spatial changes in the scene to develop a cumulative time story which becomes the image, I take advantage of the fact that the lights I’m shooting are themselves changing very rapidly. My time-scales are shorter – anything from a tenth of a second to 2 or 3 seconds. LPP ∇ How do you feel your work is different from Light Painting in the traditional sense?ĭB ∇ Most light painters create images by doing stuff with lights over a time-scale of maybe 30 seconds to a couple of minutes, sometimes more. Then I found that by choosing the right light sources and moving the camera in the right kind of way, I was producing stunning images that stand up well as light painting art. Plus, it gives one the opportunity to really study the way a light source is varying, especially if its behavior is complex. Then in my 40s I decided it was time to write a book about it, and in preparing the book I found out that photographing time-varying lights is easily as much fun as observing them with the naked eye. I went on to develop a technique of moving my eyeballs deliberately so I could see the rapid time-varying behavior of various light sources, and had many years of pleasure doing that. (This was in the UK – in the US it would have been 120 times per second.) Of course, at that age I didn’t know that the trace’s dashed appearance was due to the fact that the neon was switching on and off 100 times per second. LPP ∇ Hey Dan your Light Painting work is very interesting can you tell me a little more about yourself and your work with time varying light sources?ĭB ∇ My involvement with time-varying light sources goes back a looong way – I started when I was 4 years old! My bedroom had an electric heater in it, which had a neon indicator to show when it was on, and I remember kind of jiggling my head around in the dark and seeing a trace of orange dashes.
#Lighting painting wings pixelstick full
Check out the full interview, images and videos below. On his website and in his book he offers many resources to help others see the light including tutorials on “Eyeball Jiggling” and “Mirror Jiggling”. Dan has trained his eyes to see the unseen. From an early age he was fascinated with light, specifically time varying light sources. Light Painting Artist Dan Bennett sees things differently.
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