There are also versions augmented with LEDs and other non-fire lighting, which still require a great degree of skill but are safer. Adding fire for night performance is a natural progression. Essentially, poi are weighted objects on the ends of tethers which are spun rhythmically in geometric patterns. Meditative for the user and quite exciting for an onlooker, this performance equipment really shines in long-exposure photography. Fire PoiĪt the other end of the difficulty spectrum are fire poi. She didn’t have to sacrifice clarity, either, as she let the light provide the action for her without moving (read: blurring) the subject. Then, the photographer created both mystery and action by adding the sparkler. The scene was interesting to start with-remember the commentary in Part 1 about seeking out the interesting light hiding in the dark-with ambient blue lights combined with nearby red and green traffic lights reflecting in the fog. This photo is a great example of a combination of techniques. Sparklers are also extremely easy to control with little to no practice, which will have you painting wild canvases in the air in no time. They’re cheap, generally legal, and safer than other options, but still provide trails of light as the flaming material flakes off. Sparklers are a great way to add some grit to your light painting, especially if you’re looking for a first experiment with fire. PIXELSTICK ALTERNATIVES SERIESToday, we wrap up this series on night photography with some tips on using fire as a tool for light painting and a brief look at other, specialized lighting equipment.Ĭlass: Sign up for our in-depth workshop, May 23rd at Park Meadows! Sparklers Photo by Macey Sigaty Yesterday, we went a little deeper, adding light with easy-to-pack sources like flashlights and lasers. It also allowed me to experiment with the Instax Wide mounted on a bespoke camera Rotation Device using distant streetlights as source light, whilst providing large, dark shadows to prevent the image bleaching out.Good evening! On Friday, we took a look at how the world around you can pull double duty, offering completely different photographic opportunities at night. It’s also a safe place to spin burning wire wool, as wet sand doesn’t seem keen on catching alight when hit by stray sparks.įor the second cartridge of 10 shots, I chose to shoot under a series of bridges in Tyneside, as they cut out a lot of the ambient glow from street light reflected from cloud. Saltwater not being the most ideal maintenance routine for fancy electronics. Though it helps to have a folding camping chair so the Pixelstick can be laid down without dunking it in wet sand. There’s also enough space that one can wield a Pixelstick without fear of whacking it against a wall or suchlike. Also, at low tide, wet sand offers opportunities to catch some snazzy reflections from the light trails. For the first cartridge, I chose to visit the beach as at night, there is minimal light pollution, meaning there is less ambient light to compete with the LED light creating the light trails.
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