What may look like an example of Photoshop trickery was actually created by throwing some high powered glow sticks into the waterfalls of California. Using long exposure that would range from 30 seconds to 7 minutes, San Francisco-based photographers Sean Lenz and Kristoffer Abildgaard transformed the waterfalls into nocturnal underwater rainbows.
“This project came from months of refining a simple idea that finally turned into a concept worthy of using for an entire series,” says Kristoffer. “We were both fascinated by artificial light such as glow sticks, lasers, flares, and being big on landscape photography we tied them together in hopes of creating something that we had never seen before,” added the artist.
Even though neon lights is something completely unnatural and unrelated to the settings of the photoshoots, the final results in their ‘Neon Luminance‘ series are very harmonious.
The ‘From the Lenz’ artist duo also worked on lighting the nature around the waterfalls, and used various head lamps, road flares and even taking advantage of the moonlight: “Although this series was meant to focus mostly on glow sticks in waterfalls, we are exploring the idea of creating artificially lit landscapes in general as well, such as mountains, lakes, tree lines, grass fields and caves,” Mr Abildgaard added.
Canada-based photographer Matt Molloy brings sky photography to a new level. By stacking hundreds of separate sky shots he is able to achieve an incredible brush-like effect. Each final picture in his “Smeared Sky” series is a result of combining from 100 to 200 photographs.
The number of pictures he uses depends on various factors, such as weather conditions, cloudiness, or whether the object in the picture is moving or static. “Sometimes the clouds are moving quick and there’s lots of them. If I stack too many photos from a timelapse like that, it can get a little messy,” says Matt, adding that it’s usually mid day timelapses that cause more problems.
Matt has been shooting timelapses for over three years now: “For every day that I don’t shoot a timelapse, I probably shoot two the next day,” he says. What draws Matt to this process most is the experimenting, as you never know what you’re going to get in the end. That’s especially true with the sunsets, as the sky gets increasingly darker – but Matt says these timelapses seem to work very well.
Our first Artist of the week and with these inspiring images well deserved too!