Sometimes some of my images were restricted to, you know, maybe eight- or 10-second exposures. chapters and have parts and pieces that are perfect and I can easily blend those together on the computer. It was, especially in the commercial side. One of the things that happens with this light painting that I’ve noticed is the sense of scale gets altered — not only in the landscapes, but with things like This reveals greater shape, texture and color, and is very much using light to sculpt the subject. Fortunately with digital, you can do several captures at eight or 10 seconds and you can paint certain areas with light very Mr. Ross, who grew up in New Mexico and Germany and lives in West Chester, Pa.,  spoke with Fred R. Conrad and Kerri MacDonald. Award winning, Philadelphia contemporary photographer Harold Ross specializes in the technique of Light Painting, creating fine works of art for art buyers and private collectors worldwide. So the sense of scale really gets turned around. When you first see them, they tickle your brain since you’re not quite sure whether they’re paintings or photographs. If I were to use this technique in New York, where we’ve got streetlights, it probably wouldn’t work as well. On the other hand, the leaves appear to be quite large, but are actually only about 2.5 inches tall [below]. And by doing something with the blending modes, you can easily blend those captures together. Today we can shoot the set with stand-in food — get the lighting and all of the props just the way we want them. What kind of lights do you use for something so small? That is what I feel, even today, whenever I take the time to really see what surrounds me. When we’ve talked before, you have mentioned some strange nighttime encounters you have had with animals. I would have to say it would be one of the landscapes. They are functional objects which, for me, have a quiet, iconic presence. whole thing is maybe two, three inches tall. I don’t want to say it’s less difficult, but it’s a little bit easier. Almost 30 years of experimenting with the specialized technique of light painting* has given me the ability to show subjects in a "different light" so that viewers can appreciate them in an unexpected way. But if you move it around during the exposure, it becomes a larger light source, hi harold, great post! “I’ve been painting with light for well over 20 years,” he told me, “and I currently use the technique in virtually every image I make. He opened his commercial studio in 1987, and for almost 30 years, light painting… try it out. The light painting is transformative, and in several ways. Is this technique catching on? Sculpting with Light by Harold Ross Harold is a professional photographer based in Pennsylvania. Mr. Ross, who also does commercial and studio photography, prefers to call the process “sculpting with light.” the good food, put it in the set and then repeat. And then last week we were doing something in the woods and three deer came charging at us just before dark. Faustino said this on August 11, 2012 at 10:00 am | Reply. Or do you remember seeing other people do it? We would use stand-in food in the set — we called it “stunt food” — and I’d work out all of the lighting issues, which is no small task. I began playing with it on my own when I was doing commercial work back in the ’80s. “The use and control of light is at the very core of my work. He will show you how his photographic methods using the technique of light painting can transform the ordinary into the remarkable. Then they would run away. That’s because of the extremely and “Forged.”, The series are similar in terms of that curiosity about how these images will look. He instilled in me a deep respect for people who work with their hands. We shoot the capture digitally and then simply Mr. Ross, who also does commercial and studio photography, prefers to call the process “sculpting with light.” Using a Phase One Back on a Hassleblad for still life photographs and a Cambo Wide RS for landscapes, he spends hours creating his images, which look like oil paintings, rich in color and depth. Probably one of the scenes in the forest. My Swiss grandfather was a blacksmith. He opened his commercial studio in 1987, and for almost 30 years, light painting… Tell us about your three other series, “Still,” “Shopcraft” They feel very imposing and a little but monumental, maybe. just after the sun has gone down. Harold Ross said this on November 29, 2016 at 8:45 am | Reply. If no one had invented digital, this would be a good reason to invent digital. For Mr. Ross, the process is about curiosity. That does seem a little stressful. You don’t want to be run over by a deer. Sculpting with Light by Harold Ross Harold is a professional photographer based in Pennsylvania. I keep wondering what the big difference is for you, using digital instead of film now? It’s a very powerful technique in that it allows me to get a great deal of shape and texture and dimensionality. But not that many people are doing more naturalized, or more serious, light painting. They saw us at the last minute and took a right angle turn, but it was a little scary. But it’s very soft masking. Like many photographers, my passion for photography started when I was very young. I can’t previsualize the images, as the light doesn’t exist until I build it up. *Light painting requires working in a completely dark studio, opening the camera for an extended period of time, and "painting" the light onto the subject. I normally begin photographing It represents his tremendous strength and stoicism [above.]. photographer whose name is Aaron Jones who invented a tool for light painting. and yeah, these little details make the difference, thanks for share friend. mike kiroz said this on April 24, 2013 at 11:16 pm | Reply. So when you were shooting with film, you used to do test Polaroids and try to do this tap dance. Sort of like the famous photograph of Pablo Picasso. Today, he teaches his unique technique of sculpting with light through his blog and regular workshops. The way I use the light brings out what the eye can’t normally see — that is, tremendous texture and shape.

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