Matthew Pillsbury‘s long exposure photography series, “Screen Lives,” largely documents domestic activity related to screens that glow from televisions, computers, or mobile phones. Eleven of those photographs, however, represent a specific time during Pillsbury’s life when he fell in love with a man, left his wife, and came out as a gay man to his friends and family. This event changed the direction of Pillsbury’s project. While initially focused on photographing screen scenes with subjects who didn’t move around as much, Pillsbury’s project evolved once he met Nate. “I think it took the freedom of my coming out to make a picture like the one of Nate in Vegas or Cell Phone on Venice Beach. I was breaking down the very rules I had set for my own artistic project,” Pillsbury said. Documenting movement, intimacy, and relationship dynamics, Pillsbury’s collection is at once haunting and lucid.
The eleven photographs representing this transition are titled “Nate and Me” and will be on view at the Sasha Wolf Gallery in NYC until April 20. (via slate)
Caleb Charland (previously featured here and here) newest photography project features mesmerizing light displays using mostly fruit, a nail, copper wire, and the long exposure technique. These organic batteries produce enough of a current for Charland to capture the light’s illumination in these long exposure photographs.
“My current body of work, Back to Light, expands upon a classic grade school science project, the potato battery. By inserting a galvanized nail into one side of a potato and a copper wire in the other side a small electrical current is generated. The utter simplicity of this electrical phenomenon is endlessly fascinating for me. Many people have had the experience of drawing power from fruit in the classroom, and it never ceases to bring a smile to the face or a thought to the mind. This work speaks to a common curiosity we all have for how the world works as well as a global concern for the future of earth’s energy sources…my hope is that these photographs function as micro utopias by suggesting and illustrating the endless possibilities of alternative and sustainable energy production. The cycle that begins with the light of our closest star implanting organic materials with nutrients and energy, is re-routed in these images, Back to Light, illuminating earth once again.” (via this isn’t happiness)
Japanese astronaut Koichi Wakata has been creating beautiful light art while aboard the International Space Station. Using long exposure photography and a spiral top equipped with LED lights designed by light artist Takuro Osaka, Wakata produces light paintings in an atmosphere of zero gravity. In 2009, Wakata flew as a crew member of the ISS where he first experimented with the Osaka’s spiral top (also pictured here). In 2011, Wakata was assigned as a Flight Engineer for ISS Expedition 38 and the Commander of Expedition 39. Wakata is the first Japanese astronaut to command the ISS. You can check out more of Wakata’s incredible space photos on his Twitter feed. (via i09)
Finnish photographer Janne Parviainen‘s mesmerizing light painting photography is created manually, with no post-production alterations or enhancements. This type of photography is created using various light sources like colored strobes, flash lights, light toys, or tools specifically designed for light painting, and manipulated during periods of long exposure. While a photograph is being exposed, it can be used like a canvas with light as a tool for painting or drawing. Parviainen’s photographs are usually figurative and evoke a ghostly surreality that is beautifully startling. Parviainen uses Finnish urban landscapes as his canvas, exploring and transforming these landscapes into scenes with haunting apparitions.
Parviainen: “What interests me most in light painting is the ability to draw in three dimensional space and the possibility to alter the reality without post processing programs. I like to use in my photos different kind of figures such as skeletons and ghostly light creatures. By using these figures I can add more humane stories into my photos and alter the cultural learned feelings they cause in the viewer of the photo. I especially like to use the skeleton figure because of it’s strong pre-learned emotional concept and place it in totally different situations and emotional stages than in which it’s usually seen in popular culture. ”