Fiz-iks represents everything that is good about light painting: group dynamism, exotic locations, fundamental mastery of light and photography, imagination, story, characters and a real passion.  These components have been woven together brilliantly by Trevor Williams, the ring leader of Fiz-iks. Naoya, Hiriamason as we respectfully call him in Japan, and Phil are the other two members of the Fiz-iks team.  These guys have been working diligently and with precision for a while now and the development of their techniques has really started to reach an epic level. It’s easy to be lulled into the false impression that what they do is easy when you watch them make their images because Trevor and the team have gotten so adept at nailing their shots that it happens very quickly.  So, a lot of the technique that goes into the image is easy to miss as they work so fast.  While filming with them I often had to pay very careful attention to the “small things” they did that were easy to miss, these bits are where careful attention to detail and experience really made their pictures shine.  The fluid combination of lighting and photographic techniques gelled into a beautiful process.

     Beef Jerky!  We usually started the night with a Bento Box, Chu Hi, and some beef jerky before heading out into the Japanese night to make some magic.  The group experience with Fiz-iks is a beautiful thing to behold.  These guys have a mutual respect for each other and a creative intimacy that comes from years of working aside by side in left/right brain situations.  The laughter and exuberance were a nice current in each session and this feeling made time pass quickly.  Fiz-iks  has a passion for excellence and craft as well as outlandish creative streaks

     So, as Trevor likes to say, “If you want to take an epic picture you need to go to an epic location.” I am more than a little bit jealous of the sheer number of “epic locations” that exist minutes away from the Fiz-iks home base in Okayama.  I mean, in Texas I drive 30 minutes to the grocery store.  With Fiz-iks in 30 minutes we were in the mountains at a Buddhist Shrine with no light pollution and stars covering the night sky like a blanket.  In 30 minutes we were at an old school built right after WWII in a location so remote that it had to be closed recently because there were only 4 students left to attend.  In 30 minutes we were at a 70 meter tall dam at the top of a mountain with Japanese dudes speed driving, drifting crazy, fishtailing and sliding around the hairpin turns up the narrow, twisting roads.  In 30 minutes we were at a fertility shrine that was virtually impossible to find and required a drive down a road that was barely big enough for one car with a sheer, steep drop off waiting for you if you went even a foot off the road; the last sign you see as you get on this road is a picture of a truck falling off a mountain.  Okayama is a wonderful place full of exotic feeling locations and photogenic environments and Fiz-iks makes them appear all the more exotic and futuristic.  There is a tremendous energy in the juxtaposition of the majesty of historic Japan with the light painting wizardry that Trevor and Fiz-iks manifest. 

     The Japanese culture is supremely gracious and hospitable.  My stay was filled with kindness and a sense of comfort.  A VERY special thanks goes to Naoya’s family who graciously accommodated me for the duration of my visit.  Naoya’s mom operates a lovely and refined gift shop and wedding planning business in Okayama that is impressive.  The entire family was gracious and tolerant of our late night escapades.  I would not have been able to make the journey had it not been for their kindness.

A Japanese news station shined some well-deserved attention on light painting group Fiz-iks in a recent report on the 6 o’clock news. The news crew trailed the group, capturing some cool behind-the-scenes footage of Fiz-iks at work. Allowing the public to watch as Fiz-iks does what they do best, the TV cameras follow the light painters from the planning stages to the time we see their work come alive on camera.

Fiz-iks scored a well-deserved six minutes on the news, testament to their important contribution to light painting and the growing popularity of the technique. The segment also features interviews with the guys behind Fiz-iks and a peak at some of the unconventional tools they use to create their unique photos.

Ok...picture, if you will, being alone in Japan....picture being late for a train...picture carrying a massive backpack and 2 suitcases through train stations and airports.....picture being an independent documentary film maker on a solo journey into the "land of the rising sun" and needing to take pictures while simultaneously dealing with tickets, customs, luggage etc....how do you lug around all your crap and still be ready for a great photo at any moment?  That was the 64,000 dollar question I had while preparing for my trip to Japan to film for Luminary.  I was very worried that I would have to sacrifice my camera carrying because it would be too cumbersome and dangerous. I was concerned that I just wouldn't be able to have my camera out as I traveled.

Enter the Black Rapid Camera Strap!!! The Black Rapid Strap is a dream come true!  Using it I was able to carry my massive Lowepro backpack stuffed with the Canon XHA1, wireless mics, surround recorders, shotgun mic, tapes, batteries, steady stick, a tripod strapped to the outside and STILL have my D300 comfortably and safely at the ready all the time!  I am able to strap the backpack on, pull the Pelican case behind me and have the camera riding comfortably at my hip practically begging to get used.  The moment the Black Rapid Strap arrived and I put it on I was 100% hooked; I wondered how I ever lived without it.  It makes all other camera straps seem like "old technology".  The Black Rapid is a revolutionary product that immediately threatens to make all other camera straps obsolete! It's that good.  It makes me want to take pictures just to feel super cool like "Quick Draw McGraw" when I sling the camera off my hip and into position with a gliding, effortless motion.

The Black Rapid has details built into that make a remarkable difference when working in the field and in challenging fast paced shoots.  The picture above is me in the Bikan District using the Black Rapid. I was following my "subjects" through the city and also grabbing snapshots along the way.  I am using the RS-7 strap that allows you to attach accessories......The "Brad" accessory really makes the strap feel rock solid on my body.  I NEVER worried about the strap slipping of my shoulder or felt in any way uncomfortable while wearing it.  The picture you see above would just not have been possible using another strap.  The slim design allowed the strap to fit comfortably underneath the backpack straps and remain in position at all times.  When I needed to "run" I adjusted the quick release clips so that they held the camera in one place on my hip, keeping it from sliding around on the strap as I moved.

I really can't say enough about what the Black Rapid Strap has done for my work flow as a "one man band" documentary shooter.  It has literally allowed me to get shots that I would never have been able to get before as I easily transitioned from video to photo shooting on the run!  I love this product, I'm only 3 days into the 10 day trip so I'll post another article later with more examples and details about just how awesome the Black Rapid is!

I am rushing out the door right now,but I must stop for a moment and report on this very cool discovery related to Man Ray and light painting, or as he called it “space writing”.  I was forwarded this information by the Man Ray Trust.

Man Ray is the first light painter.  His “space writing” images are the very first recorded light painting images that I can find.  You can see his 3 “space writing” images here.

Well, in a recent article in The Smithsonian Magazine there is news about an interesting new discovery in his “space writing” images.  Quoting from the article, “…Ellen Carey, a photographer whose working method is similar to Man Ray’s, has discovered something that has been hidden in plain sight in Space Writings for the past 74 years: the artist’s signature, signed with the penlight amid the swirls and loops.”

This is a link to the article. Be sure to check out the interactive demonstration at the right hand side of the page to see his signature outlined clearly.

I’ll have more about “space writing” later as I work to include these images, and analysis of them, into Luminary.