locationgreenpoint studio, NYC datefebruary 16, 2013 notesan interesting combination of color field and optical striata effects |
When a certain balance point was obtained, a remarkable blending of color fields and striations occurred. At times, the lines widened, forming what appeared more like ribbons of color, unlike the thinner strands that were common in past sessions. The blend of purples and greens is particularly striking to me.
locationgreenpoint studio, NYC datemarch 2, 2013 notesmy assistant offered to model in exchange for piano lessons |
locationgreenpoint studio, NYC datefebruary 16, 2013 notesthe application of makeup caused the model’s face to become slightly more reactive |
locationgreenpoint studio, NYC datejuly 22, 2012 |
locationgreenpoint studio, NYC datejuly 22, 2012 |
locationgreenpoint studio, NYC datemay 12, 2012 |
The actual amount of light that is reflected back to the camera can often be irrelevant. The shiny veneer of moisture that saturates every cell of skin holds color to the light like a prism, scattering bits of rainbows in all directions. The camera only captures a small percentage of those shards of color, but retains enough to create a continuous reaction.
locationgreenpoint studio, NYC datemarch 6, 2012 |
The performer is an accomplished dancer who successfully acquired the physical language of reactive light fields in a short amount of time. The technique requires precise and graceful control of the muscles to match and compliment the determined motion of the graphics.
locationgreenpoint studio, NYC datejanuary 30, 2012 |
On occasion I will ask the people sitting for me to open their eyes as widely as possible. This is because under certain conditions, a reflection will occur that can spark a cascade reaction across the face. This segment shows one of the most successful attempts to create what I like to call the optically reactive analog of teardrops.
locationgreenpoint studio, NYC dateaugust 7, 2011 notesa compilation of documented effects upon the model’s face, neck and sholders |
For years I have made it standard practice to connect one of the documentation cameras to a large television directed at the model. This is why many of the sequences show the subject looking intently in one direction – not so much to appease their sake of vanity, but more for the model to be able to obtain visual feedback on the reaction in progress and therefore have a better ability to affect it.
locationgreenpoint studio, NYC datejuly 5, 2011 |
This session was a study in the use of darker regions and shadow to establish optical striations that are white on a darkened field. There is nothing inherent about striations that make them appear more often as black on a white field, but it is possible that the reversal of polarity is partly due to the model’s relatively dark complexion.
mike hall studio 