Exterior painting with light

ThesisThere are so many different fields of photography in which to specialise nowadays This is why I decided to go into a field that is still relatively unexplored and unexploited and still has a lot of room for research and experimentation and that allows one the opportunity to be creative. My field is night photography or rather nightjpaint-with-light photography. Few people have ever stopped to think or realise how the night affects the everyday settings arround them. Things that are ugly and unappealing in the daylight may in the absence of light become attractive. The original cameramen were limited to existing light only, so the technique is not new, it has merely been rediscovered. It was during the "flashbulb seige" of the 1940's that photographers lost interest in existing light photography. With the advent of special chemicals and films, more and more people began to switch back to the use of natural lighting. The night photographer is almost totally dependent upon existing light (Woolley 1956:22). It is with the use of these natural light long exposures combined with the use of a flash light, or any other form of portable artificial light, that allows the photographer to be as creative as possible, allowing him even to capture the ellusive movement of the stars, causing them to make long streaks across the sky on the final image. This type of photography is created by using a double exposure, one for the sunset and another when it is dark, to allow enough time to paint with light and catch the movement of the stars. With the use of a flash or a strong hunting spotlight the photographer's light sensitive material (i.e.the film) is in a way converted into the artist's canvas because one can literally paint, or create, the desired image using coloured gels to create new colours or to enhance the saturation of the already present colours. The advantage in using a hunting spotlight over a flash is that the beam of the spotlight extends a distance of a few hundred meters so that one can paint the tops of trees and buildings and other inaccessable places. The beam of the spotlight is more easily directed than a flash, and thus the chance of getting a reflective image of the photographer in the photograph, which often happens when painting with flash, is greatly reduced when using a hunting spotlight. One of the greatest advantages to painting with one's own spotlight is that one developes a feel for most of the exposure times. It also means that one does not have to rely on available light sources of unknown intensity like flood or spotlights lighting up a building. One's own light source also means that one can go out of town where there are absolutely no lights on one's subject and still create an amazing shot. I WOUld, in fact, say that this is when one can be most creative, since the exposure can be anywhere between 15 minutes and 8-10 hours, giving one as much time as is needed to create almost anything that the film will permit and that the lights battery can handle. Most of the problems encountered during long exposures are in fact film emulsion orientated and therefore beyond the control to the photographer to a certain degree. Two of the main problems with these films are reciprocity failure and colour shifts, which will be discussed later in this script. These problems differ between negative and trannie film with the negative emulsion film being the more likely of the two to give problems. We as photographers can help the manufacturers by sending them results of our experimentation and research so that they may better understand the limitations of their film emulsions under long exposures. Hopefully they will one day produce a film that will eliminate these problems. Push or pull processing can also be used as an alternative method in dealing with the problems connected to these films This will also be discussed later in this script. I will also run through the list of basic equipment needed for exterior painting-withlight and exactly how everything works together. After that I will discuss six of my images and explain how they were achieved, with all the necessary log book references. I will finally discuss the work of a professional photographer, Obie Oberholser who is a very respected and famous photographer both nationally and internationally. It is Obie who I think initiated the whole exterior painting-with-light field of photography. An exterior photographer's possibilities do not end after sunset. Neither is he confined to the city limits or whereever else there are available light sources. Night time is a time that has been very neglected by photographers. I intend to change this by promoting this field and all its possibilities, since I feel that some interesting and beautiful images can be created in this low-light and no-light time of day

Creating a Chromesthetic World: Auditory Painting with Light

The aim of this project is to create an interactive space in which the audience can partake in an artistic experience, as well as immerse themselves in the creative process of composing music. This project is important in creating a link between multiple artistic realms, with the goal being to have an installation that can function as both an interactive drawing experience, and for participants to further understand the link between musical keys signatures and their effect on colour interpretations. The scope of the project includes the creation of a circuit that contains a collection of sensors that can be programmed with a range of keys signatures that can correlate with different colours in the colour wheel, thereby delivering an interactive sound art installation. Using light-dependent resistors (LDR’s) set up in a circuit with an Arduino Leonardo, light is detected and sent to Max/MSP; allowing both music and colour to be produced when drawing within the air, directed at the camera. Undertaking this project, has also created a learning curve in how to provide an interactive experience whilst also maintaining social distancing. The aim is that this will be beneficial to installations that may take place in the future.https://remix.berklee.edu/graduate-studies-production-technology/1304/thumbnail.jp

Painting with light-powered bacteria

External control of the swimming speed of `active particles' can be used to self assemble designer structures in situ on the micrometer to millimeter scale. We demonstrate such reconfigurable templated active self assembly in a fluid environment using light powered strains of Escherichia coli. The physics and biology controlling the sharpness and formation speed of patterns is investigated using a bespoke fast-responding strain.Comment: 19 pages, 11 figure

Painting With Light: Artistic Experiments into the use of Virtual Reality as an Animation Production Environment

While many researchers have examined the technical characteristics of using VR as a production environment for animation, its artistic potential has only sporadically been investigated. We want to contribute to this line of thought through reflection on a number of expanded animation workshops organized in the context of the Painting With Light project. In this paper we use flow theory in order to discuss the experience of using VR as a 3D prototyping tool. Our findings suggest that this practice can add an improvisatory and co-creative dimension to animation

Photo art creativity in the education light drawing

DOI: 10.1051/shsconf/20162601083Since the early ages, people live together with art, and create various branches of art. Painting, as one of the most important branches of art, occurs on the walls of the caves of prehistoric ages. By the nineteenth century, photography shows itself and come as a branch of art until today. Photographers have created new methods and techniques throughout history. Among these, we can say that “painting with light” is one of the techniques by which the artist can create original works of art and reflects his/her creativity freely. This study aims to cite the importance of creativity in art education by the applications of “painting with light”. First the history of art is touched briefly, and then the invention of photography is mentioned and the relationships of photography and painting is studied. In the final section by informing about the technique of “painting with light”, it is discoursed how to get a work of art with this technique

The Visual Effects Research Lab : Herding Cats to Infinity

In the paper I outline the current findings of the research undertaken at the VERL. The three-year project links the worlds of film, art, technology and computer science. In sharing methodologies and promoting cross, trans and inter disciplinary understanding the project challenges established notions of visual thought and creates new synergies between scientists, artists, and film-makers. In 1985 painter David Hockney was invited by Quantel to experience its TV computer graphics system Paintbox. Hockney worked for 8 hours nonstop creating artworks with the ‘tablet’ and ‘pen’ set up. He described the system as like ‘painting with light’. In the spirit of Quantel’s project VERL and Creative Scotland invited artists to propose fantastical moving image projects un-realizable with incumbent technology. VERL worked with the four selected artists to shoot high resolution (up to 4K) and post-produce in Nuke and Maya a series of innovative film projects for cinematic exhibition. The projects pushed the lab’s facilities and team to its limits creating impossible ornithological stunts, buildings rising from burning embers, real and imagined robots and visceral fantasy worlds. This project has had a great deal of publicity in the National and International media, and has been widely acknowledged to be of great significance to the European research community in film media. The UK Film Council, Broadcast Magazine, OFCOM Scotland, The European Union RDF, Nordmedia Germany and Film Fyn Denmark have all quoted findings from the project. It was awarded “Best Practice in Media / Science” at the Creative City Challenge Awards 2011 in Bremen Germany.Peer reviewedFinal Accepted Versio

Blue ring of fire

My poems are reflections of shape, colour and emotions expressed through imagery. Their unsentimental landscape-realism echo my own feelings as well as broader human dimensions of contradiction and uncertainty, without trying to resolve them. In the same way that photography is the art of 'painting with light', my poems seek a language that evokes light and darkness. They aspire to what Keats said when writing about ‘negative capability’: “Poetical character has no self, it is anything and nothing, it has no character and enjoys light and shade”. My poems explore what I have learned about form – how line-length, syntax and musicality can add grace and energy to language. Poets that have influenced me include the classical Chinese poets such as Du Fu and Li Po, and the Generation of 27 Spanish poets, such as Antonio Machado and Leon Felipe

Painting with Light: A practice-led exploration of contemporary painting and the illuminated frame

The rationale of Painting with Light is the development of a self-illuminating frame that explores the space between painting and wall-based art. The aims of Painting with Light are to: analyse the self-illuminated frame as a useful device for the paintings as wall-based sculpture, question its function as a frame within the gallery through the rejection of gallery lighting and to examine the usage of thermochromic pigments within contemporary painting. The following practice-led research offers a cumulative reading of contemporary theories and practices concerning the picture frame, painting, wall-based sculpture, light, the role of the spiritual in art and the gallery environment. Installation/Painting is the title given to the research exhibition that presented the artworks and associated manifesto. The research exhibition focused on gaining the spectators considerations of the relationship concerning the space between the paintings as wall-based sculpture due to the light radiating from the self-illuminating frames and the effect this had upon the audience in the gallery. It is an ambition of this research to re-address the spiritual in art and to question if the effect of light upon the spectator has spiritual connotations. Painting with Light uses both quantitative and qualitative methods of analysis to measure the change of experiential sensation within the audience when viewing the paintings. This information is collated from sources such as interviews and questionnaires taken from artists, gallerists and the audience. Within the production of Installation/Painting, studio practice investigated combinations of picture frames, surfaces, lighting, thermochromic pigments and acrylic paints in search of justification for the works of art to be viewed as a new technical and aesthetic development within contemporary painting. The thesis’ claim is that the combination of the new self-illuminating frame and use of thermochromic pigments create an original technical and aesthetic artwork for the spectator. Aside from the technical developments and investigation into light, the self-illuminating frame is shown to have a new and positive influence upon the audience experience. The illumination of the gallery space supports this view with the light emitted from the LEDs inserted into the picture frame. The thesis’ investigation into the space between painting and wall-based sculpture has provided the platform for immersive environments to become innovative technical and aesthetic developments within contemporary art. Evidence taken from the research exhibition in the form of questionnaires and interviews found that the combination of the self-illuminating frames and thermochromic pigments had a beneficial effect upon the individual in terms of gallery experience. It is within this experience that Painting with Light aspires to re-address the spiritual in art in relation to the role of light in philosophy. The production of the artworks for this practice-led research has justified placing Painting with Light as a new objective within contemporary art. Key Words: Installation/Painting, self-illuminating frame, wall-based sculpture, spiritual, artist, gallery, audience

The Lyons Den - Creative Honors Thesis

Daniel is walking to Luke’s house as Luke\u27s mom gives the keys to her 1980s pink Cadillac to Luke. Luke is opposed to driving the Cadillac; however, Daniel is completely for it. Luke reluctantly takes the keys, drives away, hides the car, and walks to school. Rusty, the bully, approaches the boys, and banter starts. Angered, Luke starts to throw a punch. The duo ends up in the principal’s office. Mrs. Francois lightly scolds the boys, but they all leave with smiles. Logan, running for class president, smooth-talks students into voting for him. However, Luke thinks he\u27s up to something. After school, Daniel and Luke start walking home. In the background, Logan and Rusty shake hands. They walk over to eavesdrop behind the fence; it seems as if Logan is blackmailing Rusty. After Logan leaves, Rusty picks up his backpack and throws it against the fence which falls and reveals the duo. Rusty\u27s furious about them spying on him and charges Luke and Daniel who run for their lives. They escape. Daniel and Luke then figure out that Logan is blackmailing Rusty who is trying to get information to exonerate his dad from jail. Information which Logan has