There is nothing more essential in photography than capturing reflections of light.
Light is the photographer’s primary tool to define subjects — it identifies their shape, their colors, accentuates their moods, and communicates emotions. As the light interacts with the objects in a frame, it vanishes, and the objects suddenly become the subject of the composition. With this series of photographs, I found the idea of reversing this process fascinating. My goal was simple: to explore the light as the subject, defined by its interaction with vanishing objects.
I remembered passing time in long summers by playing with pieces of glass found on the beach, and observing the light reflections focused on the water. These memories shaped the direction of this series of pictures. Each image serves as part of a study, observing the reflective patterns created by a tiny ray of light from a pinhole as it hits a piece of glass from different angles. The glass acts as an imperfect lens positioned in front of the sensor of a mirrorless camera. No optics are used, and the pictures are taken in the dark with exposure times ranging from a few seconds to a minute. Suddenly, the photographer is transported inside the camera obscura, manipulating light. A champagne flute, a crystal from an old chandelier, and a toy prism became the invisible tools used on a black canvas.
In this four-dimensional space, light compositions were forming as the relative distance between the point light source, the objects, their orientation, the position of the camera, and the exposure time were changing. The light played its tricks; at times, this was reminiscent of surrealism, while other times, it embodied elements of abstract expressionism.
Capturing these images in the complete, silent darkness of the night has been a magical journey of discovery. The light takes you by the hand and guides you on a path toward beautiful, unimaginable geometries.
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