To see the complete version with the pictures, click here: https://blog.iamnikon.com/en_GB/d-slr/light-painting/
Text from the interview:
PAINTING WITH LIGHT: PATRICK ROCHON
Patrick Rochon is a Canadian photographer who specialises in shooting the movement and effects of light. We spoke to him about this technique and how he gets his stunning results.
Tell us a bit about your experience studying photography in Montreal.
I never liked school until I got into the 3-year photography programme in college. It was there that my personality came to the surface and I started challenging the status quo, breaking conventions and opening myself to different ways of using photography. This challenged some teachers and impressed others, like my fashion photography teacher who gave me the best grade in her class once she saw my thirst for freedom and creativity. I graduated in 1991 and discovered light painting in 1992. It took me five years to realize that I was a light painter using photography to capture my artwork, my light movements.
What was it about light painting that inspired you above other forms of photography?
The real inspiration in light painting is discovering that light is the medium and when you paint with it you get great surprises, some real ‘wows’. I see magic in it; it’s like a great mirror of the true self.
My work is also based closely on the Japanese idea of KATA, literally ‘a way of doing’ and I express this in a mix of dancing and martial arts. Light moves everywhere all the time, our bodies emit light and express something subtle but important. We must see it and understand it. I believe it is a key connected to our consciousness. The light painting KATA is the expression of our light and the trace we leave behind.
What is your preferred body and lens for this technique?
I started working with the D600 and was amazed by the dynamic range. In light painting it helps a lot because we work with all kind of different lights with various powers. Since I’m very spontaneous in my work I can be over and under exposed a few stops sometimes. I just sold the D600 this week and I’m now getting the D800. I’m printing and selling large format and want a good quality file to start from. I still use my old manual NIKKOR prime lenses (50mm 1.8 and 35mm 2.8) from when I was in college. They allow me to change the f-stop during long exposures.
How much of your work is done in post-production?
My light painting is all done in camera on a single exposure. I use ‘post’ like I used the dark room back in the day, to tweak the colours and to dodge and burn. Of course I’ll do some sharpening especially when enlarging for big prints. That’s what post is for me.
You shoot action, portrait, automotive and more. Do you have a favourite subject matter?
I have done light paintings of cars, products, LED wakeboards in water at night and more recently just light by itself on a black background. But my favourtie is doing portraits. Over the last 20 years, I have mainly worked with people. Working with a person is more challenging and I learn more this way. Doing a good portrait in light painting is not obvious at all and people who have tried it know what I’m talking about. But when you get some magic happening on your shoot with a person, the experience is worth all the effort and the portrait is timeless. That is why I find it so rich.
What is the best way to get started if you want to try this technique at home?
There are many blogs and people who give tutorials on light painting, but you could start tonight by gathering any portable lights you have around, get in the dark with your camera on a tripod or on a table. Use the BULB function or 30 second time exposure and start playing. Dance, draw, express, explore and discover your own magic!
Find out more about Patrick’s work on his website, www.patrickrochon.com
