The fluid body (another type of light-painting)

  • by

In the history of photography there have been countless great photographers who have studied the creative blur and in particular the movement generated by the human body. In the primordial history of light painting, in particular, it was precisely the study of human movement that motivated the use of the first light to trace its movements through photography ( history of light painting ).

Light painting has made lights and their movement a real art and nowadays there are digital cameras with different types of functions that allow you to record the movements (of clouds, stars, for example) in a creative way by transforming long exposure in the recording of reflected light trails, not just light source trails. One of these features was introduced by Olympus and is called live composite (live composite). The great utility of this function is to take very long exposures (such as those required in star trails) in a single pose (without the need to compose hundreds of shots in the final photo in front of a computer) and in any condition. of ambient light (provided it allows exposures of at least half a second). But our interest in this feature goes beyond its usefulness and is about the creative possibilities this feature offers.

In fact, the way in which the live composite function records the light allows to give almost a three-dimensional and material shape to the traditional blur, enhancing the trails that any illuminated body produces on a dark background.

We then tried to understand how far we could let ourselves be carried away by a technical expedient to compose something particularly expressive. A work like the one presented here cannot ignore the availability of an exceptional model whose contribution was fundamental for the success of the photographic set. In fact, we had the honor of collaborating with the photographer, who is also an interpreter and author of dance and theater, known in the field of instant photography especially for his Polaroid self-portraits, Stefano Questorio. Stefano's ability was not only to be able to give the right fluidity to his movements, but above all to feel the right rhythm and to get in tune with the technical elements involved.

We at Lightpainting Bologna are very satisfied with the results of this new all-Bolognese collaboration and we hope that it will be an inspiration for those involved in lightpainting, opening, who knows, a new stylistic frontier in digital lightpainting.

Credits:

Model: Stefano Questorio

Project: Felicita Russo

Photography: Felicita Russo, Viola Corinaldesi e Stefano Questorio.

Location and lights: Viola Corinaldesi.

Leave a Reply

Your email address will not be published. Required fields are marked *