Photographer David Gilliver’s Light Painting Techniques and Award Nominations

The act of drawing in the air with a sparkler on bonfire night constitutes an early form of light painting. Scottish photographer David Gilliver, intrigued by the “lines of light floating in mid-air,” felt compelled to photograph them. He described the experience, saying, “I thought it was like sorcery, it’s like magic.” Mr. Gilliver has dedicated 15 years to pioneering the light painting technique. Currently, one of his works, titled “Where Rainbows Sleep,” has been nominated for this year’s British Photography Awards in the newly established category of best low light photograph. The photographic process involves Mr. Gilliver positioned within a completely dark fishing boat hut, clad entirely in dark attire, and holding a “light sabre.” This setup marks the commencement of creating the image, rather than a Star Wars re-enactment. To merge seamlessly with the dim environment, Mr. Gilliver adopts a persona akin to a prominent cinematic antagonist, channeling “his inner Darth Vader.” However, in place of “the force,” he employs a long exposure photography method, maintaining the camera’s shutter open for durations ranging from 30 seconds to 20 minutes. His camera, operated remotely, is positioned at the opposite end of the space, firmly secured on a tripod, as minimal movement could result in image blur. Mr. Gilliver proceeds toward the camera, brandishing his light sabre, then descends through a trap door. The extended exposure duration provides him sufficient time to activate a flash gun by hand, thereby illuminating the boat hut’s immediate area. Regarding the creation of his light waves, Mr. Gilliver states, “Simple is often best.” Nevertheless, he also enjoys experimentation. For instance, in a different photograph, he utilized butterfly keyrings equipped with battery-powered lights to produce an image depicting numerous floating butterflies. Additionally, he fashioned an unsettling orb situated among the ancient Callanish stones on the Isle of Lewis, achieving this by swinging a light attached to a string, similar to a lasso, during the extended exposure period. The 45-year-old alumnus of the Glasgow School of Art has consistently possessed an artistic sensibility. Initially, however, establishing a career as an artist presented challenges, leading him to work in finance in the Channel Islands for 14 years. He developed an “utterly obsessed” fascination with light painting, aiming to capture the “magical” nocturnal landscapes of Guernsey. Upon his return to Scotland in 2015, he noted that the nation’s “dramatic” and “iconic” settings sustained his creative drive. By 2018, he transitioned from his conventional employment to pursue photography as a full-time profession. Following the online publication of his light paintings, he observed that most individuals inquired about his methods. He also mentioned that other photographers requested to join him during the creation of his images. Mr. Gilliver, residing in Gartcosh, North Lanarkshire, currently conducts his own workshops throughout the UK. He notes that while many perceive the technique as complex, it is in fact “very accessible” once individuals begin to experiment and interact with light. He attributes teaching to having “found” him and expresses enjoyment in observing people’s inherent curiosity. He stated, “Watching their eyes light up as they begin to learn what the creative possibilities are of this amazing art form is one of the many joys of teaching.” In addition to light painting, Mr. Gilliver maintains an extensive collection of macro photography. This technique involves extreme close-up imaging, suitable for capturing minute objects, flora, and insects. Mr. Gilliver frequently devises imaginative scenes utilizing small figurines. His photographic subjects span from well-known film sequences to addressing more profound themes. This year, his rendition of Leonardo DiCaprio and Kate Winslet’s iconic “I’m flying” moment from the blockbuster film Titanic has been nominated in the macro category. The image portrays miniature figures of Jack and Rose reenacting the celebrated scene atop an electric iron. He is familiar with the British Photography Awards, having previously secured the best macro photograph category in 2022 for an image from the Covid pandemic era, which transformed a face mask into a swimming pool. He stated, “Delivering a serious message without trivialising what you’re talking about is the key.” The photographer indicated that it would be unjust to select a preferred photographic discipline. He explained that macro photography stimulates his imagination, whereas light painting offers a more experiential quality. He remarked that the “experiential” aspect of light painting is what causes the “incredible process reign supreme.” Mr. Gilliver has received nominations in three categories for this year’s British Photography Awards: best macro, low light, and commercial photography. The awards ceremony is scheduled for 4 November. Copyright 2024 BBC. All rights reserved. The BBC bears no responsibility for the content of external websites.