It all started with a Samurai Film: Lady Snowblood
What began as a casual crossing in the path of the projector's light, my attention went to the way that the image warped along the figure, the shape of the body impacted where and what from the source image you saw. It was elegant, hard to make out, and thought provoking.
Beginning with a single ViewSonic Ps501w that my friend loaned me - as I didn't have a TV at the time. I was using it for entertainment, and then became obsessed with light and the fast falloff into the darkness of the shadows. I started exploring with models and couples, working through a series of experiments - it all stemmed from a moment and a glimpse into what could be.
Now, there seems to be an endless stream of possibilities and opportunities. I find myself drawn to creating expeirences for people with this art form.
When I sit with a new model, or a client, and we begin discussing my process, and I start asking them questions - things that excite them. Shared interests if more than one subject of the photoshoot - or some theme that can be called into action.
I sort through my vast library of stock and personally taken images, some created art pieces, and some public domain paintings - until the element that stands out sticks in my mind, and materializes on my subject's as the projector's light is cast upon their anticipating hearts.
I often will explain that the light calls to you, it wants you to look deep into it's bright blinding light - it will beg, plead and offer you snacks if you look, lingering light anomolies can sometimes bring photoshoot attendees to their knees - and not in a good way.
Although, I would re-position the light source, and see how the legs and scene force each other to do their bidding. Sometimes, and more often than not - the remarkable hides in the darkest of places, where only inadvertant illumination brings it to the surface.
Light image mapping has had a surge in my heart, my technique isn't even to use any of those fancy projection mapping softwares, as they require the subject to be stationary - for the most part, the effect that is added in with the projection mapping can be felt on the seams as it were.
I have literally held my projector in one arm, and aimed my camera with the other, achieving what might be a three person job. Working with a projector-handler as it could be considered, seems to be a much more effective way to light the subject up.
It has been said that I not only light people up with the art I place upon their skin, but I light them up as their moods and attitudes improve as well.
