After many months of doing types of light painting photography with many new toys and tools, brushes and funny looking transparent tubes - I call the results still highly experimental.

With an uneasy feeling of not really being in charge of the results, it seems. More like a boy in a toy-store - or perhaps - more like a Sorcerers' Apprentice. Perhaps i have never been a "100% Artist-type-of-guy" in my photography - but more of an experimental guy, who flirts with too many things ?

Too shallow, perhaps ? One who isn't enough committed to what he is doing ? I honestly don't know. I guess I had that feeling all my life - so I don't truly take that too seriously. Instead if question myself, and see what resonance I get back from of the depths. Since I am easy on getting influenced by many emotions, thoughts and reflections - it also means that in periods i get easily distracted.

Events like the Israeli/US war against Iran

felt highly disruptive. On the other hand: sometimes strong, disruptive events can create an urge to express myself in photography, to find an outlet. Yet sometimes, the events feel so massive, that even creativity is being smothered for many weeks.

Follow ups over long periods

At least i know this; i do follow up certain areas in photography and techniques, ideas and performances over longer times. I get back to them, over and over again. but with the differences that it sometimes takes many years to develop skills.

Marcel Proust

Wait a minute... what Did Marcel Proust say ?

"The real voyage of discovery, lies not in seeking new lands - but in seeing with new eyes".

Maybe that's where the knot lies in/with me ?

Strange colors

Since i work in very low light (in the kitchen), the Tulips [in the previous page] are mainly just lit up by the wicked spectrum coming from the Critter LED light (black brush). It seems to result into strange colors on plants. (Creating dirty colors). So, yeah... it all is halfway funky...

Photoshop vs Traditional Darkroom

Luckily I can at least to some degree correct that in Photoshop. I should be thankful, given how much one can correct / change in Photoshop, in terms of colors / color-casts and contrast. As well being able to iron out little details.

In the darkroom days of physical color photopaper, the margins of correction where extremely limited. It was always best to have a film negative where everything was "perfect" from the beginning. Trying to manipulate / correct an image under the enlarger, often lead to more problems (especially color shifts, if i attempted a partial correction in the image; say something so easy as darkening one side of a blue sky - it could easily lead to that the color nuances shifted, if darkened too much).

So, the better a negative was in composition, color and contrast - the better it was to make prints from it. Of course, things where a lot easier with black & White negatives, altering the prints under the enlarger (darker / brighter / selective correction in parts of the image).

I love light painting

even if i don't match the really good, skilled ones, like the Finnish guy who makes these fairy tale creations in the woods. Just amazing, outstanding and magic.

I guess, I have my own weird style.