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Light Painting World Alliance!

January 2, 2017 by Jason D. Page

As we role into 2017 our Light Painting Art Form is growing faster than ever before. The opportunities that are available to artist across the world have never been greater. One organization that stands on the forefront of creating opportunities for Light Painting Artist is the Light Painting World Alliance! Since 2010 LPWA has worked to build the light painting community by collecting artist profiles, connecting artist, hosting exhibitions, live shows, historical lectures, photo booths, and massive collaborations.

Just a few years ago events specifically for Light Painting were unheard of but thanks to the hard work and dedication of people like Sergey Churkin, the Light Painting World Alliance Advisory Board and its local representatives the opportunities are growing each year! The LPWA is free to join and its free to participate in the numerous opportunities that LPWA offers. I think one of the events that really exemplify the true spirit of the LPWA organization and the Light Painting Art Form is the massive collaborations so I wanted to share some of those…

A little history on the Massive collaborations. The first collaboration was directed by Jadikan at the 2nd LPWA worldwide exhibition in Paris (2013), when 20 artists all together created a Light Painting animation on Place Concorde. This began a ongoing theme of creating these monumental collaborations at different events the LPWA organized. In 2014 at the 1st LighArt Congress organized by Alfredo Alvarez and the LPWA in Oviedo Spain 34 artists created the IYOL 2015 logo under the direction of Alfredo Alvarez, Ivan Barco and Riders of Light.

2015 was the UNESCO International Year of Light and Light Based Technologies and LPWA was an official collaborating partner. There were 2 LPWA massive collaborations in 2015 the first was in Paris, on Tokyo Palace, and then in Dorum (Germany) a.k.a the LightHouse Meet-up, where 24 artists collaborated and light painted the IYoL 2015 logo over Nord Sea (location supervisor Joerg Miedza).

Most recently The Light Painting World Alliance organized a Massive Collaboration under the direction of LPWA China Representative Roy Wang. Roy worked for two years, connecting the people of China and the light painting art form. Roy’s great efforts gave the LPWA the unique possibility to manage the LPWA Longhushan 2016 Special Event, the 1st International LPWA exhibition in China!

Sergey of LPWA said “We were so lucky to visited that unique place! Longhushan is wonderful enclave declared Global Geopark by UNESCO, the birthplace of Taoism and modern resort area, legendary Tiger & Dragon Mountains.”

The LPWA event in Longhushan consisted of an International Light Painting Exhibition, A Massive LP Collaborations and a Light Painting Animation Project. The artist that participated were from all over the globe and they included The Lichtfaktor Team, Children Of Darklight Team and solo artists Darren Pearson, Mass and Diliz. Roy and Sergey completed this collective with all of their creative and organization skills.

The “Big Image” organization team consisted of Frodo Alvarez DKL, Edu Cajigal, Ivan Lucio, Sfhir, Nacho Cosio and Ramon Aser.

The most recent meet up brought a team of International Light Painting Artist to Hobgoblins Playground in the Nevada Desert. The participants included Sergey & Natalia Churkin (Russia), Dan Whitaker (UK), Derek Lawrence (Canada), Roy Wang (China), Alfredo Alvarez, Sfhir, Fernando Heras Castan – all from Spain, David Hull, Christina Vasquez, Andrius Sprindys, Todd Blaisdell, Chris Bauer, Kristen Schlecht, Bill Burk, Heather Marie, Marisa Bisping + Nathan, Brooke LaBrie, Matthew Scherfenberg – all from USA, and Ivan Fodor (Slovakia).

The team had two shots in mind that they wanted to accomplish the first was “Light River”. The idea of Light River was to illustrate the importance of water in a human’s life. Water, flowing through the empty and desiccated canyon – as symbol of all water reservoirs on the Earth. This beautiful image was created over the course of 3 hours and took 5 attempts to get!

The other collaboration image was called the Old Spanish Trail project. The Old Spanish National Historic Trail links Santa Fe and Los Angeles across six states and 2,700 miles. It traverses red rock mesas, passes below snow-capped peaks, and fords untamed rivers, avoiding the immense depths of the Grand Canyon and skirting the continent’s harshest deserts. Millions of people followed this trail since early 1600s in hope of a better future. To tribute this living road, created an epic light painting image, which is called “People Bring Their Light to California” – or shorter “Bringing Light to LA”.

These collaborations are just a small part of the opportunities that the Light Painting World Alliance offers to all light painters around the world! If you are not a part of the LPWA you can head over to their website HERE, sign up for free and start participating in some of these incredible opportunities!

 

Filed Under: Light Painting Photography

Light Painting Photography at PHOTOKINA! Part 2

November 9, 2016 by Jason D. Page

photokina2016

This is second of a 2 part series of articles about Light Painting at Photokina! In Part 1 of the Photokina Light Painting series I interviewed the main organizer of “Photokina Event- World LightArt ” and “The Photokina – LightArt Congress (PhoLAC)” Jan Leonardo Wöllert. Here in Part 2 I wanted to get another perspective of the event from two of the Light Painting artist that were invited, Pala Teth and Mart Barras! I asked them to each select a single image from the event and tell me why this was their favorite image. Getting two extremely talented photographers to select just one image from an event all about Light Painting Photography was not easy but thankfully these two were able to narrow it down and share their personal stories about the event.

Pala Teth:
The PhoLAC congress was fantastic, with a lot of highlights, like the amazing improvised collaboration with an authentic and original Ball of Light from Denis Smith (Australia) combined with the famous light skeletons from Darren Pearson (USA) in the middle of a park in Köln (Germany). This example is for me a fantastic symbol of the relationships that the Light Painting creates between people, over the borders and the continents. And there were so many crazy moments like this one during the congress! But the most impressive image for me is when I saw the Light Painting pictures selected by the PhoLAC team all over the huge official screens in all the entrances and halls of the Photokina (190 000+ visitors). The picture I selected was taken by Sven Gerard of a Light Painting by Mafu Fuma, from Aurora Movement. This image by Mafu is one from his portfolio that won the special prize at the International Light Painting Award 2016 and was projected onto one of the giant screens at Photokina!

light-painting-by-mafu-fuma-1

As a European photographer, Photokina is for me the Mecca of the Professional Image and Photography Business (yes, with capitals, you know what I mean…). The Light Painting was there, everywhere, on big screens. The first time I’ve seen one of these screen, I had to stop and watch. I was like a child, amazed by the show. It has made me really proud of our art form! The Light Painting produces spectacular, impressive, colourful, attractive and eye-catching images. It was clearly visible that these images are able to compete with the splendid images used by the brands for their marketing needs. For me, the fact to show these LP images in the Photokina has added a huge load of credibility to our art form.

Mart Barras:
The photo I’ve chosen for you is one that myself, Phill Fisher and Kim von Coels (The Krumble Empire) created at the PhoLAC After Fun party hosted by Karin Brodowsky on the Friday evening. I love it because after such a great day, we all had the chance to hang out, share amazing food and drink, talk and most of all Light Paint together. A perfect end to a perfect day, old friends and new celebrating together our art-form, something I’ll remember forever 🙂

light-painting-by-mart-barras

To be fair all the photos I took are special for me, for different reasons so it was hard to pick. I have a great one of Denis Smith running around the hall, just before he went on for his speech. Dennis really summed the whole trip up for me, with his energy and obvious passion for light painting, something which we all feel about our art form and was present throughout all the speeches and visible in the work and time and effort that Jan and his team had put into the event.

Check out part 1 HERE.

 

Filed Under: Light Painting Photography

Light Painting Photography at PHOTOKINA! Part 1

November 7, 2016 by Jason D. Page

photokina2016

Photokina is the world’s leading trade fair for photography and video imaging. With 983 exhibitors from 42 countries, including every major photography brand, and 191,000 visitors its safe to say its as big as it gets in the world of Photography. The multi day event was held in Cologne, Germany and here is the best part, thanks to the hard work and dedication of Light Painting Legend and LAPP founder Jan Leonardo Wöllert, this year Photokina showcased the Light Painting art form in a big way! There was an exhibition of over 100 Light Painting Artist from 40 different countries, Light Painting Lectures, Light Painting Workshops, and even a Live Light Painting Photo Booth in the Olympus Playground right in the front of the show! Jan Leonardo is a very busy man but I was finally able to talk with him a little bit about the event! Since this was such a grand event I also wanted to get another perspective from a few of the Light Painters that attended the event so I asked Pala Teth and Mart Barras to select one single image from the event and tell me why it was their favorite, that will be PART 2. First up is the Interview with Jan Leonardo Wöllert read on below.

Interview with Jan Leonardo Wöllert:
LPP ∇ Jan first off on behalf of the entire Light Painting community I want to say Thank You! What an extraordinary event for light painting art and artist you created this year at Photokina. Can you tell me more about some of the different light painting events you organized for for the show?
JL ∇ Thank you Jason, 
Together I worked with the organizers of Photokina and many other light painters and friends to created the event “Photokina Event- World LightArt” this included a few different areas:

The Photokina – LightArt Congress (PhoLAC) was held on September 23rd and 24th. 
The Congress was a great event that included live music, laser shows, Ironman & Avengers live, workshops, light painting lectures and presentations, and much more in the Center of Photokina!

We had the Digital Light Painting Exhibition powered by ZEISS On 22 Panasonic screens. One these screens we presented over 100 Light Paintings by artists from 40 different countries! The 100 nominated photographs from the International Light Painting Awards 2016, as well as the winners of the International Light Painting Awards 2015 and 2013. The exhibition area covered 150 square meters and was in the lighting area of Photokina. There was also a chill lounge for drawing a deep breath and enjoying the Photokina experience. The Winners of International the Light Painting Award 2016 were shown along with the winners of the 3rd International Light Painting Award on back lighted pictures. These beautiful illuminated images were produced from the print specialist Daniel Ries!


3rd: As special attraction we had the Light Painting photoBOX direct on the middle boulevard. The Live Light Painting photoBOX was on the middle boulevard in the entrance area of Photokina as a main attraction. It was a part of the Photokina Eventworld too. During the whole photokina produced lots LP artist more than 1000 live light paintings with interested photokina visitors.
01-photobooth

4th: Finally we had a Printed Exhibition of the Light Painting Award – Photokina Special prize winner 2015 Darren Pearson from USA. Whitewall/Hahnemühle print exhibition
darren-pearson-gallery

LPP ∇ WOW that is a lot going on! How many artist participated in the digital exhibition?
There were around 126 artist that were shown in the Light Painting Gallery powered by ZEISS together with the winners of the International Light Painting Award 2016.

LPP ∇ Can you tell me more about the live light painting photo booth, who was creating the portraits for this portion of the event?
JL ∇ Bernhard Rauscher organized the Light Painting photoBOX and hosted them together with Sven Gerard, Gus Mercerat Manuel Köstler. We also had a rich program and international guests, including Darren Pearson (USA), Eric Pare (Canada), Denis Smith (Australia), Mart Barras (UK) and many more. On the photokina opening day Ironman was there in person for photographs.
iron-man-1

LPP ∇ How did you select the artist you brought to the event?
JL ∇ The idea was to bring light artist from around the world together! Eric Pare is one of the fastest growing international Light Painting artist. He and Kim are a amazing artist couple. Denis Smith is the best Australian Light Painter and was the 2nd Light Painting Award winner in 2013, he is also a very successful and professionel light painting artist. Mart Barras is a very creative light painter and well known too. The basis of my sellection was that the selected artists were role models and/or had a very special message, like the great German Artist Sven Nieder and his Stella Polaris story.

LPP ∇ What was your favorite moment from the Photokina?
JL ∇ The “After phoLAC FUN” there was for the whole community a great moment. Organized by Karin Brodowsky and Marcel Panne from Lichtfaktor was a night a full success with a unbelievable Brazilian Barbecue named Rodizio and a lot of beer. This event was planned to be a big Light Painting together but it was much much more. I saw so many faces and people that we spoke to for the first time after a long time friendship online.


The light and fire artist Rene Albrecht did a fantastic fire show. This “After photLAC FUN” was for a great moment for all of us.

LPP ∇ How many people visited the light painting exhibitions?
JL ∇ In all areas we had more than 16.000 visitors. Alone the Light Painting Gallery powered by ZEISS had more than 11.000 visitors at the six photokina exhibtion days. The Light Painting Gallery powered by ZEISS was the biggest international light painting exhibition world wide and a great success.

LPP ∇ What was the most challenging part of the event?
JL ∇ This is funniest part Jason! The most challenging part was my own speech on the Photokina – LightArt Congress. I spoked often about Light Painting at different events but I was never so unendless, dead, and empty. After a few minutes into my speech I lost my concept and was close to crying. The audience was great, they gave me big ovation and helped me in these painful moments. The Photokina “Event World LightArt” and the PhoLAC were planned so big, there was almost too much to be done! I noticed it during the Photokina, It was overwhelming and I slept only 3 hours each night.
01-speech

Another very emotional moment was during the construction of the Light Painting Gallery together with Jörg and Garry from EMD also Anna and me. Garry hurt himself very bad. His middle finger was broken in eight places and between him and I we couldn’t prevent it. He had to go to the hospital and after only 3 hours he was back and continue working with us. Thank you very much dear Garry … you old hard bone.

LPP ∇ Who were the sponsors that helped put all this together.
JL ∇ At first is to be mentioned the Photokina. The Photokina and I were the promoter of the “Photokina Event World LightArt” and from the phoLAC. Without the support, power and believe in the success of the event there would have been no phoLAC. Thank you so much Mrs. Pudlat and Mr. Schmale.

Carl Zeiss and Manfrotto supported and sponsored all areas and helped with organization questions and with money. Thank Daniel Ries from the HQ Print Service delivered the best backlight prints I ever have seen. The fotoforum Magazine produzed together with me the fantastic fotoforum special print with all data’s of the different stages, events and areas. They printed 4000 magazines and they were after 5 days out of print.

Thank you very much dear Martin Breutmann for your help and ideas.
But the biggest sponsors and helpers were the humans: My friends! 
First to mention the good soul and my girlfriend: Anna Leonardo!!! She helped me in moments I was more than down. She talked with people when I hadn’t time for conversation. Anna is my artistic muse and my life. Thank you so much Anna Leonardo to be with me in this difficult times.

Garry Krätz from EMD was the Technical Manager and gave all his power, his event equipment and experience for the PhoLAC and the Light Painting Gallery powered by ZEISS. Thank you very much for your unendless power dear Garry.

Joerg Wurzbacher was the organisator of the Light Painting Gallery and one of the brains behind the phoLAC. Thanks you so much for your help, ideas and for your man-power dear Joerg.

Bernhard Rauscher organized the Light Painting photoBOX and hosted them together with Sven Gerard, Gus Mercerat Manuel Köstler. Not to forget the many Light Painting Artist they showed her talents in the BOX. Thank you so much for your great job guys.

Last but not least the amazing making of and event photographer Chritaian Arne DeGroot for the this wonderful documentations of all these events.

There are so many helpers, sorry I can’t tell every story. So I say thank you so much to: Karin Brodowsky, Marcel Panne, Anton Julmy, Jörg Schmidt, Barney Flashlight, Mafu, Ironman & the Avengers Live, Sven Gerard and all the others great humans they I have forget.

LPP ∇ Again it was a truly amazing event that really benefited the community and the Light Painting Art Form so thank you very much to you and everyone that contributed to making this event happen!

JL ∇ Thank you Jason.

 

IMAGES Used From Photokina Group Album HERE

Filed Under: Light Painting Photography

The Business of Light Painting, Workshops with Denis Smith

July 14, 2016 by Jason D. Page

Light Painting Workshop Denis Smith 03
In this ongoing Light Painting series I am going to dive into The Business of Light Painting. As our art form grows, so grows the potential for us to become full time professional Light Painting Artist. I think that most of us have to make a living from something other than our passion of Light Painting and that is not always fun. The good news is today the opportunities for making a living (or a least enough to support our light addiction) by doing what we love have never been greater! For this series I talk with a few of the Light Painters out there who have had success in The Business of Light Painting. Each of the artist that I have interviewed for this series have shared their experiences and offered great insights, I hope that everyone can gain some knowledge and/or get inspired to create their own Light Painting business and make a living doing what we love. Please show these artist some appreciation with a high-five if you see them in person or an online thank you for sharing their gained knowledge with us.

Denis Smith has had a tremendous amount of success with his Light Painting Workshop series in this article I got some insights into what makes a successful workshop and how to get started.
Part 1 Denis Smith (Light Painting Workshops)
Part 2 Darren Pearson (Commercial Light Painting Photography)

The Business of Light Painting Workshops with Denis Smith:

LPP ∇ Denis first off thank you for taking the time to answer some questions about your Light Painting workshops. I know you have had many successful Light Painting workshops in some epic locations. What was it that inspired you to start doing your workshops?
DS ∇ I think the first thing to make really clear is that along with my paid photography workshops I delivered many free presentations and light painting demonstrations at photography clubs, events and other bits and pieces, but here we will focus on the paid workshops. You can apply most of the advice below to planning a free workshop though.

A few years ago I put on a free light painting presentation here in Adelaide. We weren’t expecting many to turn out, but ended up with about 180+ people in the room. It was amazing! There was a real joy in showing that many people how we create the magic of light painting images and talking with them about how light painting came into my life. The feedback was incredible. It was very clear that people were leaving inspired and motivated to have a go.

I did a couple of small paid events as part of an arts festival, then the demand went crazy. Along with my business partner we decided to bring the light painting workshops under the umbrella of our video and photography business (www.smithandcollins.com) this has been the key to the success of the workshops. There is simply no way I could have managed everything after hours and on the weekends.

I was not going to start holding workshops unless they were simply the best quality events available, full stop. To do this required a large investment in equipment, light painting tools, marketing and relationships with key stake holders. The workshops had to become a serious business to deliver a serious product.
Light Painting Workshop Denis Smith 01

LPP ∇ You have held several different types of workshops varying in the number of participants, single and multiple nights, and several different locations, can you tell me more about the different types of workshops you have offered?
DS ∇ In designing the workshops, it was incredibly important to have something for everyone. We hold larger events with up to 40 participants along with much more intimate workshops with as few as 10 people. I wanted there to be a product for anyone from a student to a lawyer. I also wanted to retain a real sense of personal attention to the participants. The feeling that the night was about them, and them creating art.

We hold workshops in a huge variety of locations. Massive industrial buildings, abandoned lunatic asylums, out in the forest, on wide open salt flats and even at schools when catering to students. In reality there is an unlimited variety of locations.

At all of our workshops we spit the event into “zones” so that there are no more than 5-7 people in each zone. In a large open space we will have 4-5 large zones with a different theme. A car, a light painting portrait zone and of course an orb zone. Rotating through the zones through the night gives each participant real variety. We tailor the layout and zones to each location.

LPP ∇ Which is your favorite type to do and why? Do you prefer to work with big or small groups?
I love taking groups out into the field. We take relatively small groups, 10-12 people, into the forest under a full moon. I love these because they get to experience the true wonder of light painting with nature. They can understand what is involved and really take away the complete experience.

DS ∇ I prefer a smaller group as it allows me to interact with each person more through the night. The reality is people seem to enjoy spending time with me one on one.

LPP ∇ Multiple nights on location must be pretty difficult to set up logistically, can you tell me about some of the challenges and how do you overcome them?

DS ∇ Running any high quality light painting workshop (or any workshop for that matter) takes a huge amount of logistical planning, for even the most basic night. Our largest events are fully catered, have multiple crew, up to 10, and require significant PA and projection gear. Planning for an event starts up to 3 months out. Getting approvals for locations, booking caterers and baristas, organizing crew and staff along with marketing, bookings and dealing with enquiries is huge.

There is a core groups of us who manage all of these things. My wife Kyrie, business partner Sam and my workshop assistant Ben all work closely with me to make things run smoothly. The key to making things run smoothly was keeping control of all facets of planning and booking.

We designed the booking system into the back end of our website so that things would remain personal and tight with responses and communication. The only way to be sure our events run smoothly is to allocate enough time to the planning and running of the events.
Full moon in the Forrest-5576

LPP ∇ How do you get people to know about the workshops? What would you say is the best way to get people to sign up?
DS ∇ I developed strong methods using social media to market the events. Targeted, paid Facebook marketing along with strategic contact with camera clubs is good. I also have a very close relationship with the largest camera retailer in our state. All of these things combined with a very strong mailing list make sure we get the word out to the right audiences for each event.
Most importantly is to create an unforgettable experience for the participants. Word of mouth and referrals are so important. We gather feedback from the nights and use that to improve future events. This is smart.

LPP ∇ Going back to the different workshops that you have done, how do you come up with a price to charge? Do you have a formula that you use, that you will share with us, or is each workshop so unique there is no formula to use?
DS ∇ Our light painting workshops are a business. Creating the best possible experience requires significant investment up front, and serious operating expenses during the events. Just like any business you must go back to basics, even for the smallest event, the basics apply. You must develop a plan. We have a strong business and marketing plan around the workshops. These must include expected costs and revenue. You have to be realistic about all of these though.
There are costs that you will not factor in, like enough torches for everyone. Printing flyers, water and snacks for everyone. You will have to have some form of insurance. You will need a first aid kit and so on.

Here is the BIG one. Your time has value! You will put all the thought into having all of the required light painting tools (which are not cheap, and you need lots), a killer presentation and great flyers as people leave, but you MUST factor in your time. It has value. And unless you apply a value to your time and put it into the spreadsheet, you will look back and feel bitter that you worked so hard for nothing.

Put simply, yes we have a very strong formula. It has many components, but it is a simple formula. Revenue – costs = profit. Be realistic about what your costs are and pay your crew!
Also NEVER forget why you do light painting.

LPP ∇ From what I have seen it really looks like you pay attention to every little detail, what are some of the special things that you do to make sure that everyone is satisfied and feels like they got their monies worth?
DS ∇ I want the workshop experience to be hands on. Time spent with a tool in their hand is more fun than sitting listening to me talk. We keep presentations to the absolute minimum. So prior to the event they have received emails with tips and tricks to prepare them for the night. They know the basics of camera settings and some basic theory before the night. The thrill of light painting is seeing images you have created on the back of the camera, so we get people painting quickly.

I always make sure I spend time with each workshop participant one on one. This is super important.
Light Painting Workshop Denis Smith 02

LPP ∇ Ok so I am a light painter and I want to have a workshop in my hometown, what do I do first?
DS ∇ Start small. This way you will get the processes right with little stress, then scale up. Start with some friends, or a camera club.

LPP ∇ What is the one piece of advice that you wish someone would have told you about putting the workshops together that you had to learn the hard way?
DS ∇ Be independent. Try and do as much as you can yourself. I was approached by a LARGE camera manufacturer who made all sorts of promises in return for being involved with the event, then delivered very little of what they had promised. This left me bitter.
We definitely partner with people, but retain complete control of all marketing, planning and running the events.

LPP ∇ Thank you for sharing your experience and knowledge with us Denis!
DS ∇ Thank you.

To learn more about Denis check out his website right HERE.

Filed Under: Light Painting Photography, Light Painting Video

2nd International Light Art Congress in Oviedo Spain, Exhibiting Artist List.

July 12, 2016 by Jason D. Page

2nd International Light Art Congress in Oviedo Spain

Don’t forget this weekend July 15th-17th, 2016 is the 2nd International Light Art Congress in Oviedo Spain! There will be a LPWA exhibition of 100 international Light Painting Artist! Below is a total list of the exhibiting artist. There are also many other exciting events set to take place include speeches, light painting presentations, master classes, street spectacles, live light painting shows, group light painting night sesions and much more. Meet and learn from some of the greatest light painting artist around! Check out this promo video video and hope you can make it to the event! Learn more HERE.

List of Exhibiting Artist:

ARGENTINA
Elemental Light

AUSTRALIA
Rob Turney

BELGIUM
Palateth

CANADA
Scott Ireson
Eric Pare
Patrick Rochon

CHINA
Roy Wang

EGYPT
Mona El Tobgy

FINLAND
Hannu Huhtamo
Jukka Laine
Luplof
Janne Parviainen

FRANCE
ATB ART
Stephane Babatasi
DAWN
Diliz
Jadikan
KOMEG
Alexandre Lefebvre
Frederic Leroux
Cesium Lightgraff
Jester Lights
Chanette Manso
MASS
Patrick Scherer

GERMANY
Aurora Movement
Electrical Movements in the Dark
Alexandr Gnezdilov
Gunnar Heilmann
JanLeonardo
Lichtfaktor
Lightmark
Miedza Lightart Photography
Bernhard Rauscher
ZOLAQ

INDONESIA
Putu Toni

IRELAND
Gareth Nathan

ITALY
Maria Saggese

MEXICO
Ramses Pacheco

MOROCCO
Cisco

NETHERLANDS
Maarten Takens

SPAIN
Antonio Martinez
David Maimo Lazaro
Jose Luis Lozano
Riders Of Light
Santiago Salinas
Yolanda Hermida Diaz
Mario Lechuga Suarez
Jordi Soriano
Eduardo Cajigal Gonzalez
Dave Astur
Frodo Alvarez
Rafael Rodrigo Perurena
Flashes En La Noches
Salva Mico
Carles Calero
Dark Red Team

UK
Tim Gamble
Ian Hobson
Darren Hopkins
Alan Jaras
James Mills
LED Eddie
Dan Whitaker
Rosetta Whitehead

USA
Chris Bauer
Aurora Crowley
Brian Hart
John Hesketh
David Hull
Jordan Kjome
Eric Mellinger
Jason D. Page
Troy Paiva
Darren Pearson
Jason Rinehart
Seeing With Photography Collective
Matthew Scherfenberg

INTERNATIONAL OBEREVERSAND LIGHTHOUSE TEAM (Dorum 2015)
Dirk Schütze, Eike Henning, Frank Upmeier, Gunnar Heilmann, Holger Kneifel, Jannes Bauer, Jenja Ospanov, Jenny Kretschmer, Jörg Miedza, Jörg Schmidt, Leonie Hoppe, Liela-Paulin Krause, Marc Krug, Norbert Götz, Olaf Schieche, Oliver Schnepper, Ralf-Martin Tauer, Timo Kretschmer, Werner Heisenberg (all Germany); David Brams and Jan Teunis (Belgium); Maarten Takens (Netherlands), Leonardo Lopez (Argentina) and Sergey&Natalia Churkin (Russia).

Filed Under: Light Painting Photography

Night Photography and Light Painting Finding Your Way In The Dark. Lance Keimig Interview

July 29, 2015 by Jason D. Page

Lance Keimig Night Photography
Accomplished night photographer and educator Lance Keimig has just released the second edition of his book on Night Photography. This new edition is called “Night Photography and Light Painting – Finding Your Way In The Dark” and as you can probably guess from the title this edition has an expanded section on Light Painting! I wanted to catch up with Lance to find out we can expect to find on the inside, check out the interview below.

LPP ∇ Hey Lance congratulations on the completion of the revised version of “Finding Your Way In The Dark”, I know you have been working very hard on it for quite some time now. For those who may not know can you tell me a little more about yourself and your background with Night Photography.

LK ∇ I was introduced to photography by a girlfriend in 1985. The first roll of film that I ever shot was images of her in my bedroom with the lights turned off and waving flashlights around. Sometimes outsde the frame, sometimes in the frame and pointed back at the camera. After exhausting all of the photo classes at my local community college, I moved from Baltimore to SF to study night photography with Steve Harper at the Academy of Art College. Steve was a huge inspiration, and his guidance is the reason that I stuck with night photography all these years.

LPP ∇ I know that this new version will have some pretty detailed coverage on Light Painting, can you tell me a little more about what people will find inside?

LK ∇ First, I differentiate between light painting and light drawing. I consider light painting to be lighting the subject- a la Troy Paiva, with or without the colors, and light drawing to be creating a subject with light- the kind of work you do. There is a chapter on each, where the first edition only had a chapter on light painting. In the new light drawing chapter, I have presented the work of about a dozen of the best known and most original artists working in the field. Since I don’t do much of this kind of work myself, I thought it would be better to let the masters explain their work. Included artists are: David Gallard, Julien Breton, Dennis Calvert, Darren Pearson, Hannu Huhtamo, Ian Hobson, Janne Parviainen, Stu Jenks, Vincent Delesvaux, and of course yourself (Jason D. Page).

LPP ∇ Can you expand a little on the “how to” aspect of the book, what should the readers expect? 

LK ∇ The light painting and light drawing sections include descriptions of the techniques used to create the images in the book, but my goal is more to inspire creativity that to teach people how to copy what others have done. That said, there is much more technical info than in the LAPP book. I discuss camera settings and tools, with suggestions how to use them. The other chapters have very detailed technical information about astro-landscape photography, star trails, and urban night photography.

LPP ∇ Why did you decide to cover Light Painting so extensively in this version?

LK ∇ Well, it’s just become so popular in the last couple of years. My workshop students mostly have night photography down these days, and just want to work on their light painting techniques. It seemed like one of the things that needed more coverage from the first edition.

LPP ∇ Was there some catalyst that made you think that this was the time to do a book about Light Painting?

LK ∇ With the advent of Protomachines LED2, Pixelstick, Light Painting Brushes and the expanding presence of LightPaintingPhotography.com and LPWA, it just seemed time. I know that a lot of people found the images in the LAPP book amazing, but were frustrated by the lack of “how to” information in the book. Eric Curry’s book is great, but covers only a small niche market. Troy Paiva’s eBook is great too, but also pretty narrowly focused. There just wasn’t a good comprehensive book on the subject.

LPP ∇ Where do you see Light Painting 10 years from now?

LK ∇ Wow, that’s a tough question. I’m continually impressed by the amazing work that comes across my screen everyday. There are so many talented artists working today, and as light painting continues to become more mainstream, I’m sure that we will see more of it in the media. I hope though that there remains a dedicated group of purists- not necessarily SOOC only, but artists who work with light more than with the computer.

LPP ∇ What do you focus on most in your own night photography, whats your preferred subject matter?

LK ∇ Most of my recent work has been made in the American deserts, at the intersection of natural and man-made environments. There are lot’s of people photographing decay and ruination in the desert, but hopefully my style comes thru and the humor and juxtaposition in the images come through.

Light Painting George's Island

LPP ∇ You also do workshops can you tell me a little more about those?

LK ∇ I have been teaching night photography and light painting workshops longer than anyone else that I know of, except for Tim Baskerville of The Nocturnes. We started teaching together at Rayko Photo Center in 1998. Today, I lead 3 and 4 night workshops in National Parks and public lands, frequently in the west, as well as at various photo centers around the country. They have become more specialized too in recent years, focusing on urban night photography, full moon and light painting, or astro-landscape photography. I also lead photo tours featuring both day and night photography to places like Iceland, Cuba, Scotland, and Ireland. I’m working on a light painting workshop in Tuscany for 2016, and will also be doing a night photography and light painting workshop in Santa Fe next year, at the esteemed workshop program there.

LPP ∇ Where would you love to do a workshop that you have not?

LK ∇ Yosemite Valley, Joshua Tree. Both are forthcoming. Tuscany and Umbria- and I am working on a trip to Italy for the fall of 2016. We’ll be staying at a country villa, with a chef, and this will be a light painting workshop, as opposed to a tour, like most of my other international trips. The difference being that there will be classroom instruction and critiques as well as field sessions.

LPP ∇ You also have an online class in the works as well correct?

LK ∇ My night photography and light painting class just launched this week on Craftsy.com. For a limited time, it is available with a $10 discount off of the $54.99 regular price by using this link: www.craftsy.com/ext/LanceKeimig_4754_D. The class consists of 7 lessons which can be viewed online indefinitely once purchased. Craftsy is an online education platform that specializes in arts an crafts. We filmed the class in Bodie Ghost Town in May.

LPP ∇ Where can we get the book?

LK ∇ The book is out now, and it is available either directly from me, or on Amazon. Links for both options can be found here: http://www.thenightskye.com/books/ I’m offering signed copies of the book alone, or with a signed print of the cover image through my website.

LPP ∇ What is your favorite Light Painting in the book and why? I know that is a tough one but you have to answer. ha.

LK ∇ Ha! I have a hard time picking out a single image, but I really love Hannu’s work, and Diliz’ one line series.

LPP ∇Thank you very much Lance for taking the time to answer all these questions, I know you are crazy busy! I can’t wait to get my signed copy and I wish you great success with the new book!

LK ∇ Thank you!

Filed Under: Light Painting Photography

LPWA Video Report from Oviedo 2014 Light Art Congress and Exhibition

December 30, 2014 by Jason D. Page

LPWA-Closing-Report
Here is the official LPWA Video Report from Oviedo 2014 Light Art Congress and Exhibition. As you will see from the video it was an incredible event with light painters from around the world, light painting exhibitions, workshops, and many talented speakers! Light Line Master Darren Pearson may have said it best “This is the greatest meet up of light painters in my entire life.” Check out the video below and for even more info click the link for the LPWA closing report.

Filed Under: Light Painting Photography, Light Painting Video

Light Painters on News Stands NOW!

November 25, 2014 by Jason D. Page

Light-Painting-Photography-Cover-Magazine

There are a few magazines you may want to pick up on news stands NOW featuring Light Painting! The first is ShutterBug Magazine’s “Expert Photo Techniques” issue featuring masters Troy Paiva, Lance Keimig, and Darren Pearson! The other may be a little harder to find but if you do it will be worth it for the images alone, its FOCUS Magazine out of the Netherlands with a cover and feature on LAPP Master JanLeonardo. Go get yourself a hard copy of these beauties!

Filed Under: Light Painting Photography

Hugo Baptista Bullet Time-Lapse Light Painting

September 5, 2014 by Jason D. Page

Hugo Baptista Bullet Tim Lapse Light Painting 1

What do you get when you combine Hugo Baptista, Cisco LightPainting, Darren Pearson, Will Wildmot, a light painting workshop, 3 hours of shooting, 12 Nikon cameras, 9 Canon camera, 1400 photos, and 30 hours of post-production? One really cool piece of Light Painting Bullet-Time Stop-Motion Animation. This piece was created at the 1st International LightArt and Light Painting Convention held in Oviedo, Spain. The event was organized by the LPWA (click here)to read a detailed closing report of the event.. For more about on the background of the bullet time lapse project check out the interview below…


LPP ∇ Hugo I just saw your Bullet Time Lapse you create at the LightArt Congress in Oviedo Spain this year awesome work what inspired the idea and how did the project come together?
HB ∇ As you probably know the term bullet-time comes from that scene in The Matrix where Neo dodges bullets. When I first saw it in 99 I thought I want to do that one day. And that’s how I can now dodge bullets…lol
Seriously, Eric Pare and Patrick Rochon have made great bullet-time videos with light painting and of course they were also a big part of the inspiration. Unfortunately the budget required for such a feat with a large number of the same cameras, lenses and an advanced triggering system with live viewing often exceeds what many clients are ready to spend. When I was in talks with the Oviedo LightArt congress organizers about how to go about this project we decided it would be feasible to crowd-source this with workshop attendees. Not only was it feasible but it was more inclusive too in a workshop setting. To make it work we needed to have the attendees bring along camera/lens combinations with approximately the same field of view. That is why we required a complete list of camera(s) and lense(s) on the sign up form so I could request the most common. We ended up with 12 Nikons and 9 Canons and diverse lenses that I tried to keep at approx. 18mm.

LPP ∇ Oh wow this created as part of a Light Painting workshop?
HB ∇ Yes. A 3 hour workshop designed to be all about doing and not so much about talking given the little time available. Here is a more detailed explanation of the process: http://www.oddballgraphics.com/?works=crowdsourcing-a-bullet-time-stop-motion-video

LPP ∇ Who were the other light painters that were involved?
HB ∇ I was very happy to have Cisco Light Painting (left) and Darren Pearson (right) agree to LP behind two dancers from ZigZag dance group while Will Wildmot helped with the setup as well as being responsible for a side light.

LPP ∇ How did you set it up, it must have been very difficult working with so many different people and camera?
HB ∇ Yes, Particularly the language barrier was an issue since not everyone understood English and my Portuguese masked with a Spanish accent wasn’t clear to everyone. That lead to a misunderstanding with two members of the Canon row who set their cameras to 80mm instead of 18mm. That’s why I didn’t use that row in the bullet-time. I should have printed the settings for everyone to read like I originally planned but I naively thought it could be done verbally. The first hour was spent aligning the cameras in a semi-circle, pointing the cameras at a ping pong ball on a tripod and making sure they were at the same height and same distance from each other.

LPP ∇ What kind of light painting tools did you use?
HB ∇ I made a custom tool consisting of a transparent hose, two handles and a double DLW from Michael Ross. Cisco and Darren were using their own tools.

LPP ∇ Do you plan on doing more of these workshops?
HB ∇ I sure do. But not necessarily using this format. I want to do it with many more cameras in a wide open space next time.

LPP ∇ How were the images put together in post?
HB ∇ The first stage is importing all the raws in Lightroom and organize them by camera number. Then I’ll approximate the settings so that the different cameras/lenses match. I then created a 1400 photo quick collection making sure to not select accidental shots and to not include sequences that were missing shots as was the case with some. I found pretty soon that some cameras had moved slightly between exposures which meant copying crop settings wouldn’t work as it did with all other settings. I knew a considerable amount of editing would be needed so I decided to go all the way and crop all the photos one by one based on where the action was taking place which meant this bullet-time would have a variable center of rotation. I liked this effect in early tests so I went with it. I then exported the quick collection to a 4K sequence and further edited it with After Effects and Twixtor.

LPP ∇ Woah thats a tremendous about of work! How long did it take to put everything together to make the final video?
HB ∇ About 30 hours (excluding the many hours of rendering)

LPP ∇ What was the most important thing you learned from this experience?
HB ∇ I met many people from around the world who are very passionate about light painting but also many who were just starting, all working together for a greater goal. I learned that the Spanish LP community is brewing with incredible talent and was inspired to see how committed everyone was.

LPP ∇ Is there anything you would do differently next time you make a Light Painting Bullet Timelapse?
HB ∇ If I have the budget to do it for a commercial project yes, pretty much everything would be different but next time I use this workshop format I will definitely not forget to write the settings down on unambiguous pieces of paper!

LPP ∇ Its a really great piece of work! Thank for taking the time to answer some questions.

To keep up to date on the NEXT light painting workshop and for more amazing work Check out Hugo’s website OddBallGraphics.com

Filed Under: Light Painting Photography, Light Painting Video

JanLeonardo and Lenovo Light Painting Ad Campaign

January 24, 2014 by Jason D. Page

JanLeonardo_Lenovo_Light Painting 6
As our art form grows it exciting to witness more and more people seeing the commercial appeal of light painting. Recently I shared Darren Pearson’s light painting animation that is currently being featured in Honda’s new ad campaign, now I have the pleasure to share with you another fantastic Ad campaign featuring the work of LAPP founder and all around light painting master JanLeonardo. JanLeonardo’s work is being featured in a global advertising campaign by electronic manufacturer Lenovo! JanLeonardo’s futuristic LightArt-Photography with the sleek design of Lenovo electronics is the perfect fit. Check out some of the images and the short interview with JanLeonardo below ↓↓↓↓↓.



LPP ∇ JanLeonardo the images for the new Lenovo ad campaign look incredible, how did this project happen?
JL ∇ In July 2013 I published an article about my LightArt-Photography in the largest Chinese Photography Magazine “Popular Photography”. The management from Lenovo saw this article and representative from an American advertising agency reached out and contacted me.

LPP ∇ Did you create any special images just for them or did Lenovo select from images that you had already created?
JL ∇ Lenovo acquired publication rights to existing images, but in the future we extend the cooperation.

LPP ∇ Where did you see the first AD with your light painting in it?
JL ∇ I saw videos from the CES and in the background I saw my pictures on the wall. This was an amazing moment for me. I worked since 2007 very hard for this success.

LPP ∇ How long was it before the first contact that you saw your light paintings being used in ads?
JL ∇ We negotiated three month before I saw the Advertising results on the CES. The CES Las Vegas is the biggest international electronics exhibition.

LPP ∇ Where are the images being used?
JL ∇ It’s an international, world wide advertising campaign in internet, print, exhibitions, and wall advertisements.

LPP ∇ That is incredibly exciting! Congratulations your light painting work is mind blowing and I can’t wait to see whats next!

JL ∇ Thank you.

To see more of JanLeonardo’s incredible light painting work check out his LPP profile here and his website www.lightart-photography.de

Filed Under: Light Painting Photography

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