Busacca Gallery

THE LIGHT OFFERING series by photographer Leandro Sanchez is one in which, after nights of experimentation in the dark, Leandro finds a perfect balance where he can illustrate properly his designs by using strings of lights in rapid movement and props to create the resulting images. These offerings of light come from Leandro's imagination, motivated by his fascination with mythical creatures that exist in all cultures and continents - they reveal to him a deep understanding of the human psyche. We all fear, we all need fear, to achieve enlighted moments... These creatures are at times angelical, at times diabolical - they are an interpretation through light of an homage of how the universe provides to enlighten our souls, lives, our darkest dreams or thoughts. The series takes hours to not only develop but to achieve - each movement of these strings of lights can either ruin the visual or aim it in the right direction to create a new creature; it is a game of balance and precision repeated until the wee hours of night to get several magical images and "beings" that will speak to this elusive mythology. While creating this series, Leandro and his wife Megan submerged themselves into a room in their loft at night - multiple cables connected to various outlets of electric power, cables entangled to provide beauty or at times failure and false starts. After several rehearsals and failed tests, these strings of light started creating their own network - entangling into balls that cannot be undone. This is part of the deal - it's mandatory to just adapt as it goes... Leandro knows it's important to sometimes just let things happen in art - if a light fails in the middle of a shot, perhaps it has a purpose... many times this reveals very true, some of the shots that he calls "achieved" are shots that at one time felt like accidents. A string of light that gets stepped on, cutting and causing bleeding, can reveal to be (when returning to the camera in the dark to see the image captured) the perfect shot in that angle or lens, in which finally a new shy creature emerges... Sometimes when working with light painting, intended artistry can fall flat, but also sometimes accident becomes art. In this particular series, Leandro started by just photographing the nude body, then he added light, make up and props - the series took shape progressively, as the intention and vibe mounted. Leandro worked to improvise magic in the moment to create the creatures - he himself did the make up on his wife, instructed her to hold feathers by her teeth, he applied shiny fabrics to reflect an angle of light that changes in every shot, as if on the whim of a muse. The method was a theatrical construction of seconds - when captured by the perfect math on his camera and the perfect symbiosis of art, makeup, light, props and set, the resulting images come to a climax of visuals to choose from. Always the percentage is slim, but in these hours of elaboration and improvisation, very satisfying visuals can finally be achieved, resulting in this photographic series that indeed touches the mythical - an offering of light to the elusive muse of art and to the creatures that let themselves emerge.

Link: http://en.wikipedia.org/wiki/Photos

Most photographs are created using a camera, which uses a lens to focus the scene's visible wavelengths of light into a reproduction of what the human eye would see. The process of creating photographs is called photography. (Photo) "representation by means of lines" or "drawing", together meaning "drawing with light". The first permanent photograph was made in 1825 by a French inventor, Joseph Nicéphore Niépce, building on a discovery by Johann Heinrich Schultz (1724): that a silver and chalk mixture darkens under exposure to light. Niépce and Louis Daguerre refined this process. Daguerre discovered that exposing the silver first to iodine vapor, before exposure to light, and then to mercury fumes after the photograph was taken, could form a latent image; bathing the plate in a salt bath then fixes the image. These ideas led to the famous daguerreotype.

The daguerreotype had its problems, notably the fragility of the resulting picture, and that it was a positive-only process and thus could not be re-printed. Inventors set about looking for improved processes that would be more practical. Several processes were introduced and used for a short time between Niépce's first image and the introduction of the collodion process in 1848. Collodion-based wet-glass plate negatives with prints made on albumen paper remained the preferred photographic method for some time, even after the introduction of the even more practical gelatin process in 1871. Adaptations of the gelatin process have remained the primary black-and-white photographic process to this day, differing primarily in the film material itself, originally glass and then a variety of flexible films. Color photography is almost as old as black-and-white, with early experiments dating to John Herschel's experiments with Anthotype from 1842, and Lippmann plate from 1891. Color photography became much more popular with the introduction of Autochrome Lumière in 1903, which was replaced by Kodachrome, Ilfochrome and similar processes. For many years these processes were used almost exclusively for transparencies (in slide projectors and similar devices), but color prints became popular with the introduction of the Chromogenic negative, which is the most-used system in the C-41 process. The needs of the movie industry have also introduced a host of special-purpose systems, perhaps the most well known being the now-rare Technicolor.