A real life story, where truth is stranger than fiction, takes you on a
surreal moonlit journey. Mostly you will travel through the dark,
witnessing the wonders of the night, in awe of the things you
never knew existed. You will be sharing audacious adventures
with a light painter who doesn’t take herself or night dangers too
seriously. The author will make you laugh and cry simultaneously.
Heartwarming sub stories, life threatening encounters, funny
moments and self-realization makes this a truly memorable story;
a story that almost never happens. A story started with wild
chase of the Northern Lights in a convertible across the potato
fields, and turned into the series of adventures that spanned the
moonlit landscapes of Montana, Guatemala Jungle, the Rockies
and the Prairies, Canadian North, and odd places in between.
It is inevitable that the author gets in trouble being far from
civilization and at night. She learns about night’s beauty and
dangers, its appeal and its peril, its bounty and its deception.
The author shares a ghost town with a young bear, fights off a
wolf with her tripod, and light paints the ruins next to a raging
lynx. She has a close call when she goes through the ice; she
deals with a broken vehicle in the middle of nowhere. She light
paints Mayan ruins listening to the sounds of mating jaguars and
howler monkeys. She travels to the Great Canadian North and
saves an adorable puppy she names Musko.
Finally, she deals with her own fears, doubt, insomnia and
extreme exhaustion, both physical and psychological. She defies
danger and common sense and at the end, she prevails.
The author explores human fascination with ruins and abandoned
places, walking on the border between the tangible and
imaginary. She witnesses the passage of time and asks life’s ever
pressing questions, rubbing shoulders with remnants of the past.
The author conquers fear and demonstrates how passion and
insatiable curiosity drive one forward to fulfill one’s potential.
As the moonlit landscapes are changing, mind landscape is
changing as well. The story spans several years and touches on
friendship and loss, near-death and out-of-body experience,
being in the “zone”, total despair and personal renaissance, and
the effects of severe sleep deprivation.
It’s an honest book written without holding back. It tackles
universal questions that anybody can relate to.
The stories are accompanied by stunning night photography and
light painting, all done "in-camera". This book will give you an
idea of the science and magic behind light panting. You will also
get a glimpse of what’s happening behind Aurora curtains.
This story is published to inspire you to live passionately and give it your best.
I decided to write this book after listening to a chorus of friends saying that I should document my nocturnal escapades.
Initially, I thought that “Chasing the Moon” would be an adventure story, a collection of travel anecdotes to share scary
and comical events as I perfect my art and get in trouble; but at some point the book took over and wrote itself,
helping me to understand what drove me into the night.
And when I had all the chapters ready, the life itself
offered a grand finale. I needed a couple of light paintings and made a final trip to the Old Ruins.
That night, on the cold stones of the mill, I found the sole purpose of my life. That made a bonus chapter.
This story is published to inspire you to live passionately and give it your best.
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Light Painting is a technique that selectively illuminates the subjects while the camera shutter remains open.
A photographer paints night scene using light sources and coloured gels, like an artist paints canvas with paint.
The exposure times vary from minutes to hours. During the exposure the earth rotates and forms star trails on the camera sensor;
wind and water blur shapes and boundaries; things happen.
The happenings and time are compressed into one single frame; the transfixed results are mysterious and hypnotizing.
***
My method of light painting is not minimalistic. I tried almost every light source imaginable, including tactical military lights,
small table lights, strobes, and gargantuan torches AKA “Big Bertha”, aptly named after the military howitzer.
I use an impressive array of sundry electronic gadgets that I built for my jollies. Additionally, I use assorted unorthodox gadgets
that I amassed during the last decade.
I like experimenting with colours and built an impressive arsenal of filters.
My palette consists of hundreds of different hues that offer a remarkable refinement of colours in my light painting.
I prefer subtle colours that convey mood and atmosphere; colours that complement and enhance night scene.
I am yet to declare that I mastered an organic integration of my lights into the nightscape.
The exposure of the subject to each light depends on the number of the subjects, on the overall exposure and ambient light,
on the camera parameters, on the intensity of the light torches and density of the gels (if used), and on the luminosity
and colour of the painted subject. These are just the basic parameters that govern this sophisticated process.
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My ambition is to move beyond mere illumination of the subjects and to venture into the world of staging a fantasy.
At the end of the journey, I see myself orchestrating the entire landscape in the symphony of light.
It took me twelve years to polish my technique and I am now happy to move to the next stage and embark on the project
with technical confidence that frees me to express my untamed conceptions.
***
My approach to light painting is unique: it is influenced by years of training in traditional Arts and particularly,
by my oil painting.
