Experimental Light Painting Photography

What do you get when you combine teamwork, imagination, and long-exposure photography? Well, you get stunning light painting images that are sure to attract your attention. It is always fun to be a part of the in-camera practical effects lesson in Experimental Practices, a course taught by Myron Campbell. Students step away from the computer and create light graffiti images using a variety of light sources that include LED flashlights and smartphone apps.

The students are first grouped into teams, and they pre-visualize their compositions. They then work to create their images by using their light sources in a dark room, like paint brushes, to selectively reveal the characters in the shots by illuminating them. Interesting light patterns are captured in their shots by using slow shutter speeds. By adjusting the speeds of their movements, different effects can be achieved. The students also experiment with multiple exposures as another technique in this class.

Check out the light painting results below!

In the classroom : Painting with light

Students create class homage with light

We had a lot of fun last week in Experimental Practices. This course is a term 5 elective and focuses on implementing experimentation into your creative process. With the help of photographer extraordinaire, Danny Chan, this lesson focuses on in-camera practical effects — primarily, painting with light. The light source in all the photos were from various flashlights and LED bicycle lights, along with various smart-phone apps to create these light-graffiti compositions. This was another exercise to force students to think beyond digital tools and see what they can achieve with a more traditional approach.
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Experimental Practices : Think the Opposite

whatever you think kniht eht etisoppo

VFS Digital Design students assembled in the No Pixel room (no pixels allowed! …mostly) for the first day of the Experimental Practices class taught by senior instructor Myron Campbell. They may have been surprised by the tools they given to use. After all, this is Digital Design — so, practical methodology, even at the preparatory stage, could reasonably be expected to involve software and digital processing hardware. But instead, they were given pens, brushes, and markers and spray paint and water colours and paper, lots of different types of paper — also such sundry objects as feathers, wrappers, etc. Actually, you could call these “tools” ingredients — for a tonic meant to invigorate an ailing creative imagination. It’s an answer to the question: when a designer wants to be innovative, but is feeling out of it — how do they get back “into it”? the answer, in other words is, by breaking your habits, and cultivating your (peculiar) passions.

Ingredients for an Experimental Practice

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