While I embrace both digital and film mediums, most night images are captured with a large format view camera.
Many of my night images are created with a technique often called light painting, in which light sources in near-dark conditions are projected onto or “painted” in selective areas during the camera exposure. Effects are achieved during the exposure. No post-production computer manipulation occurs. Exposures can range from 20 seconds and upwards to the entire evening (6 or more hours) to achieve. Recently my work has been evolving in the woods of New England, and within little known niches of the urban world.
A professional photographer, for over 28 years. New York City based (now in Hershey Pa) photographer Chip Simons has worked for
countless publications from, Time, Esquire,GQ,People, Scientific America, Audubon,Rolling Stone, and Forbes. He has done advertising for Coke, Shimano, MTV, Nickelodeon,Apple Computer , to name a few. He is known for his wide angle and fisheye lenses, and his use of colored lights and light painting techniques …as well as his humorus and conceptual approach to all things Americana.
I’m a Light Painter. I mainly use photography and video to capture the movement I create with lights. I started moving lights, combine with photography doing long exposure in the dark, in 1992. In 1999 I started creating videos and performances with lights. Then with friends we created a multimedia group and we built costumes of lights. Using video feedback, we performed by light-painting on a giant screen creating a new visual experience. I’m from Montreal, Canada and I’ve been living in New York, Paris and Tokyo for the last 15 years.
Cenci Goepel and Jens Warnecke travel around the world, turning night into day. With flashlights and torches, the photographic artists set their “Lightmarks” in unusual landscapes. They create images of movement, light and darkness. “At dusk, when other landscape photographers stow away their equipment, we get ready to work. Whether its in the wind-swept patagonian desert or in the icy northern part of Norway: wherever we travel we explore landscapes that reveal a magic beauty in the dark. A bit of moonlight, a faint glow of northern lights, some modified torches or a carefully placed fire: that is all it takes to uncover what is hidden in the dark. And when the sun comes up the next morning, no trace remains to show that we have ever been there.”
August Bradley’s conceptual approach to fashion and commercial imagery is heavy on mystery, allegory and visual narratives that have their roots in classic literature as much as they do fine art—not an easy sell for a photographer working in the gentrified world of advertising. Yet Bradley, a relative newcomer to the photography industry, is highly sought after for his singular vision in an environment where established photographers are working against a tough economy and the upheaval of existing business structures.
Densely complex in theme even if minimal in composition, Bradley’s dramatic photography is hyperstylized in technique and often centered on a “style” component, he says, “though it’s not really about the clothes.” He has many clients that come to him specifically for commercial or fashion photography, but Bradley notes that the stylization is less his brand of fashion photography and more to complement each story and to give the imagery more of a “detachment from our day-to-day perspective.” Props and surreal backgrounds play a big part in selling the riddles in his images, and he prefers to have an element of literary fiction, noting that as an avid reader he has found the best literary fiction to reveal more fundamental truths than the objective world of nonfiction ever could.