Eric Paré is a visual artist based out of Montreal, Canada, who mixes light-painting, time-lapse and stop-motion to create dramatic, compelling images. For his project LightSpin, he took half a million pictures of contemporary dancers improvising movements in the dark inside a ring mounted with 24 cameras while he aimed a light at them.
During the project, he connected with one of the dancers, Kim Henry, who instinctively understood the best way to work with the time-lapse style of photography Paré was using. She helped him perfect the technique for creating fluid stop-motion dance sequences. The pair reconvened a year later for Little Circle, a new dance project that combines studio shots featuring light-painting and time-lapse dance sequences created around the world. Together, Paré and Henry decided to make a full trip around the world and get inspired by infinite spaces: deserts, oceans, fields and mountains. The goal was to blend landscape with hypnotic and delicate dance movements. Along the way, they would create a documentary about their experiences.
Paré and Henry traveled light so they could more easily access remote spaces for their dance project. Pare brings two main cameras, three lenses (18mm, 35mm and 300mm) tripods and triggers. For audio, he plugs a good quality microphone into his cellphone.
Storage and backup are important, since Paré takes so many shots for his projects. “I can generate sometimes over 3TB of data, so I need large capacity hard drives,” Paré said. When he and Henry set out on their journey to capture the dance sequences for Little Circle, he made sure to include four Seagate 2TB hard drives and a dozen memory cards. “When traveling, I always use large capacity memory cards, and I backup as soon as I can. I clear the memory card only once I have been able to backup the full primary hard drive to a secondary one. That means that at any moment, I have two copies of everything.”
One of Paré’s goals when shooting is a simple set up so he and Henry can focus on being creative. “I have bought and sold a lot of things, but today I create the best pictures I’ve ever done with very few [pieces] of equipment,” Paré said.
In addition to capacity, Paré also values stability.
Overall, when shooting in the wilds, I want to forget about technology, and focus on the results. This obviously requires reliable gear.”
With his array of cameras and Seagate hard drives, Paré can focus on his art and let the technology be in the background.
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