In order to fully grasp the characteristics of Light Painting, it is useful to compare it with the traditional lighting technique typically used in photo studios.
Traditional Lighting vs. Light Painting
Traditional Lighting
For traditional lighting, fixed light sources determine the construction of the “volumes” to be photographed. In the studio, one or two fixed light sources are often sufficient. The use of reflectors can help to soften shadows that are considered too strong. Finally, additional lighting can be used to apply effects to the background of the scene, or to illuminate the subject from the background. The construction of the volume in space is thus achieved by the light coming from a finite number of points, these points being fixed. The image produced is, as far as volumetric rendering is concerned, similar to that which can be seen with the naked eye during the shooting.
Light Painting
On the contrary, Light Painting evolves in another phenomenology. The construction of volumes in space is done differently, because the sources of light are mobile, projecting on the subject from different positions. The rendering, as far as the distribution of light and shadows is concerned, is quite different from that of traditional lighting.
More generally, the consideration of time and space is approached in a new way. In relation to the time factor, very long exposures are necessary, and in this sense, we can evoke the notion of photographic temporality. As with silver photography, when taking a Light Painting shot, one “performs” without knowing the final result that will be visible in the image. Unlike film photography, once the performance is finished, we are in condition to see the result immediately when working with a digital sensor.
The aesthetics of Light Painting
The Ritual
Light Painting has a performative aspect, and the photographer is required, in order to illuminate the subject, to move through the space in a dance-like performance, in a dynamic that evokes a form of mysticism.
In other words, Light Painting involves the idea of a temporality associated with bodily expression and a symbolic graphical output.
The performance is ritual-like, and as such, the practice of Light Painting is comparable to the practice of painting as conceived by some abstract expressionists, such as Jackson Pollock. This practice, to which one can associate a cult value, puts at work a dynamic close to “hasard objectif” (objective chance), as understood by the Surrealists and defined by Aandré Breton.
Objective chance can be interpreted here as the “physicality of poetry” [1], or as an externalization of desire in the psychological sense.
The modeling of volumes in space is realized in a new way, different from that which comes from figurative representation as we know it in painting, in traditional photography, or in cinema.
Temporality
Indeed, the distribution of the illuminated areas and shadows does not correspond to actual states. What we see in the final image has never existed in reality. The rendering of the volume is the result of the set of rays of light that were projected on the illuminated subject. The result becomes surreal, ghostly. The texture of the surface of the subject adopts a shiny look, with no possibility of unsealing the origin of the light. A supernatural atmosphere is created.
In portraits, the subject is required to remain motionless for the duration of the shooting. However, as this is a living subject, movement is inevitable. The final rendering therefore contains, other than the result of the movements of the light source, the result of the totality of these micro-movements in the subject.
The final result, however, merges the temporality of the shooting in a single image.
When the photograph is received, a mutation takes place. Indeed, inevitably, photography is always associated with the snapshot, we think we see a “normal” snapshot, and the resulting image ends up evoking a form of blooming in the subject. As the shooting is erroneously supposed to be of short duration, portraits made with Light Painting suggest a kind of tension in the subject, comparable to an unstable situation, a fixity that seems fragile, with a restrained explosiveness. The presence of movement is imminent. We witness a form of effervescence of vital forms.
Coming back to the time factor, we can therefore conclude that the performative temporality present at the time of the shooting is transformed at the reception of the work, in a promise of future movement, which is brought about by the presence of an effervescence of the subject, a tremor, a contained tension.
Aura, Punctum
Moreover, not being able to identify the source of the light, nor the direction of the applied light, the subject seems to emanate some sort of luminosity from itself.
We can then think of a reinforcement of the aura, the aura in its current meaning, i.e., a kind of energy that exceeds the physical limits of the subjects. Nevertheless, the notion of aura can also be interpreted according to the logic defined by Walter Benjamin, as the quintessence of the “artistic fact”. Still from Walter Benjamin’s point of view, the aura associated with the work of art is lost with the appearance of technical reproducibility, that is, with the appearance of photography and cinema. The Aura in Benjamin’s work is associated with the hic et nuc of the work of art, i.e., the “here” and “now” from which unique works (original paintings, statues) benefit [2].
In relation to Roland Barthes’ Punctum, Light Painting seems to spread a form of Punctum throughout the entire image. And we return to a kind of cult value of the image, which takes us back to the very origins of artistic activity, when representations were a medium between humans and supernatural forces.
The Theatricality of the archaic
In the course of the shooting, Light Painting inherited the most vernacular of 19th century photography, before the appearance of the snapshot. Indeed, during the realization of daguerreotypes, for example, the subject was required to remain motionless for several seconds. The poses were often conventional, and movement was avoided as much as possible by using structures to hold the body of the model. The movements were however very frequent, and the result, as when using Light Painting, was sometimes ghostly, supernatural.
Light Painting is associated with staged scenes, and in this sense, it is based on an artificial naturalism, brought back to the paroxysm of intensity by the effects of the projected light. The staging, thus conceived, takes the place of the imaginary in a context for which the description of reality through photography is no longer relevant. In other words, in Light Painting, photography no longer positions itself as a guarantee of objectivity.
The image that results from Light Painting makes use of the representational capacities that emerge from photographic activity, photography is not used as a means of reproducing reality. Light Painting, beyond a reinterpretation of reality, proposes the creation of a new reality, invisible to the naked eye.
The rendering is theatrical, in a form of theatricality close to the ideas of Diderot, for whom expressiveness must play a dominant role in the transmission of a message, a hidden truth, even unchangeable:
“An actor has the right to turn his back on the stage but also to remain silent … [] … it is not words that I want to get from the theater, but impressions” [3].
In a paradoxical dynamic, the immobile model is required not to feel emotions, in order to let the lighting technique itself “capture” the quintessence of the “durée” (duration) that is present during the performative act. The notion of duration is understood according to Bergson as “the lived experience of time”.
Light painting and the aesthetics of photography
light painting can be understood through the lens of formalism in photography. Formalism emphasizes the visual elements of an image, such as line, shape, texture, and color, rather than its subject matter. Light painting, with its emphasis on the visual qualities of light, is a prime example of formalism in action. By manipulating light sources, photographers can create a wide range of visual effects that prioritize form over content.
Secondly, light painting can also be interpreted through the lens of phenomenology. Phenomenology is a philosophical approach that emphasizes subjective experience and perception. In the context of photography, phenomenology suggests that the meaning of an image is not inherent in the image itself, but is created through the viewer’s interaction with it. Light painting, with its emphasis on visual perception and the creation of subjective experiences, is a prime example of phenomenological photography. The viewer’s interaction with a light painting image can create a sense of wonder, mystery, or awe, depending on the particular image and the viewer’s interpretation of it.
Thirdly, light painting can be analyzed through the concept of the sublime. The sublime is a philosophical and aesthetic category that describes experiences or objects that are overwhelming, awe-inspiring, or transcendent. Light painting, with its emphasis on light and color, can create a sense of the sublime in the viewer. The use of bright, saturated colors and the manipulation of light sources can create an otherworldly, dreamlike quality that can inspire a sense of wonder and awe.
Finally, light painting can be understood through the concept of photographic indexicality. Indexicality refers to the relationship between the photographic image and the real-world object or event it represents. In the case of light painting, the image is created through the movement of light sources in the physical space, and the resulting image represents a unique record of that particular moment in time. Light painting images are not merely representations of a subject, but are records of the process of creating the image itself.
Artists that have used light painting techniques
Gjon Mili
Gjon Mili was a photographer for Life Magazine who was known for his use of stroboscopic flash to capture motion in his images. He experimented with light painting techniques in the 1940s and 1950s, using multiple flash units and long exposures to create images that captured the movement of dancers, athletes, and other performers. His images are known for their dynamic energy and the way they capture the essence of movement.
Eric Staller
Eric Staller is an American artist and photographer who is known for his large-scale light installations and sculptures. He often uses light painting techniques to create his works, which transform public spaces into immersive light environments. His installations are playful and interactive, and they encourage viewers to engage with their surroundings in new and creative ways.
Vicki DaSilva
Vicki DaSilva is a New York-based photographer who uses light painting to create socially engaged works that explore issues such as climate change and social justice. Her images often feature text and slogans, which she creates by moving light sources through space while using a long exposure. Her work is both visually striking and politically charged.
Aurora Crowley
Aurora Crowley is a British photographer who uses light painting to create surreal and dreamlike images. Her work often features female figures in motion, surrounded by swirling light and color. Her images are moody and evocative, and they often explore themes of identity and transformation.
Denis Smith
Denis Smith is an Australian photographer who is known for his use of light painting to create abstract and otherworldly images. He often uses a tool called a “light-painting orb” to create swirling patterns of light, which he photographs against a dark background. His images are mesmerizing and ethereal, and they demonstrate the full range of creative possibilities that light painting can offer.
[1] A.BRETON, 1937.
[2] W.BENJAMIN, 1939, p.17.
[3] D.DIDEROT, 1777.
[4] H.BERGSON, 1907.
Bibliography
Walter BENJAMIN, The Work of Art in the Age of Mechanical Reproduction, 1935.
Roland BARTHES, Camera Lucida, Reflections on Photography, 1980.
Denis DIDEROT, The paradox of the Actor, 1777.
André BRETON, Mad Love, 1937.
Henry BERGSON, Creative Evolution, 1907.
Curated Light Painting Videos
https://vimeo.com/lightpainting
Well written!