Hey Wicked Hunters,
Welcome back to The Art of Photography Podcast. This week we have Eric Pare and Kim Henry, who revolutionise light painting and portrait photography.
Photographer Eric Paré and contemporary dancer Kim Henry have built a lifestyle combining passions for performing art, photography, travel and light painting. Exploring the world with their light-painting tubes, they create unique imagery mixing light-painting and landscape photography in magnificent locations, sharing every single tip about their techniques along the way. When they are not on the road, you can find them performing studio photography in Montreal where they capture dance using 176 cameras on a full 360° system. Mixing studio and outdoor photography allow them to continue pushing their limits while keeping the balance between those two complementary aspects of their art. Their work has been featured on CNN, MTV, BBC and TEDx, and they have worked on large-scale campaigns with Audi, Apple, Adobe, HP, ESPN, Intel, Canon and Microsoft. Some recent projects brought them and their team to Coachella, Panorama, CES, SXSW, Xposure and the Olympic Games. You can learn more about both Eric Pare and Kim Henry on: links https://ericpare.com/links https://kimhenry.dance/links
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• Website: https://podcast.thewickedhunt.com
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Transcription:
Kim Henry 0:00 And it was it was not a big success. But when we saw those big tools, those big plastic tubes are like, Oh, I think there's something there.
Eric Pare 0:08 So on that night, where we were like, oh, there's something so cool to play with. We're like, what do we do with this? Are we going to keep it as a secret, or we're going to reveal it. And now 10s of 1000s of people are doing this.
Stanley Aryanto - The Wicked Hunt 0:24 Hey Wicked Hunters. Welcome back to The Art of Photography podcast, where we share artists journey and share how photography given us hope, purpose and happiness. And today, we have someone who is an innovator in the photography industry, someone who actually I followed a long, long time ago. It's such a privilege to have them here today, and being able to hear the story behind not only their photography, but also the innovation behind it, because trust me, it will blow your way. Blow your mind away. So today we have Eric and Kim. How are you guys
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Kim Henry (00:00):
And it was it was not a big success. But when we saw
those big tools, those bigplastic tubes are like, Oh, I
think there's something there.
Eric Pare (00:08):
So on that night, where we were like, oh, there's
something so cool to play with.We're like, what do we do with
this? Are we going to keep it asa secret, or we're going to
reveal it. And now 10s of 1000sof people are doing this.
Stanley Aryanto - The Wicked Hunt (00:24):
Hey Wicked Hunters. Welcome back to
The Art of Photography podcast,where we share artists journey
and share how photography givenus hope, purpose and happiness.
And today, we have someone whois an innovator in the
photography industry, someonewho actually I followed a long,
(00:45):
long time ago. It's such aprivilege to have them here
today, and being able to hearthe story behind not only their
photography, but also theinnovation behind it, because
trust me, it will blow your way.Blow your mind away. So today we
have Eric and Kim. How are youguys doing?
Eric Pare (01:06):
Hi. So good to be with you today. Tonight for us
in mourning for you. We'll startright away. I had a question for
you. Okay.
Stanley Aryanto - The Wicked Hunt (01:17):
Oh, right away. I love this. This is
great. I thought I was supposedto be the one asking question.
Eric Pare (01:23):
Do you speak? You speak Indonesian, right? Yeah, I
do. I know one word. Okay. And Ihave no idea how to pronounce
it. But I want to tell that wordto Kim. Because this is one
comment that always come fromIndonesian fans. The right to
Kim. So if you saw that, Karen
Stanley Aryanto - The Wicked Hunt (01:44):
Kerim gramme, what does that mean?
Yeah, it's actually meanawesome. Oh. Yeah. It's like,
oh, grand is like, oh, it'slike, awesome. Yeah. Yeah,
that's, I mean, you guys aredoing really awesome stuff.
100%. You know, when I firstcome across your work, one of
(02:07):
the thing that really intriguedme is just the way you do slide
and how you like painted rightbehind the portrait behind your
subject. And I thought it wassomething that I had never seen
before. So when I first saw thatright away, I was like, wow,
like, that's incredible. And Ihave I have made a few attempts
(02:31):
to buy the tube and everythingbut I've never followed through
with with it. So you know, nowthat I've gone on a podcast with
you, maybe that's my incentiveto actually make that happen.
But, look, it's so incredible tosee how both of you work
together, you know, as a as aphotographer, and dance and
(02:52):
before we can move forward with,you know, all the different
question. Tell us a little bitabout how did it all get
started? You know, how did itall get started for you, Eric as
photographer and how it kind oftranspires with Kim and you
know, half of two different workof art meet together.
Eric Pare (03:14):
Okay, so I think you already know that's the
reference so many photographers,I was travelling with a point
and shoot camera. You heard youheard that before? Right?
Stanley Aryanto - The Wicked Hunt (03:27):
Yeah,
Eric Pare (03:28):
I got super lucky because as I was very interested
into photography, I wanted tobecome professional. But where
do you start? Like if you haveno one? Like no, none of your
friends? And that it doing thisas a profession as a business?
Or how do you start and I wassuper interested about
photography, and I had a pointand shoot camera, and I was
(03:51):
travelling, and I was takingpictures of plants, birds and
stuff. And just been lucky. Ihad a friend and agency and he
called me one day. So how canyou do that? That gig with us
taking pictures of product? Andwas like, Oh yeah, I bought my
(04:12):
first DSLR like the cheapest oneI could find just because that
that's what I was thinking was agood way to get started. And I
killed them. Like my first gigwas so great, because it was
something that was kind of easyfor me with the small experience
I had. I think I've been luckyand I did a great job with it.
(04:36):
So then I got another one oneand then I've been able to buy
my first full frame which was afive D one back there. So it's a
long time ago. And and thenyeah, I've continued to do
progressively for a year or two.But it's the passion started to
fade out because we're justtaking photos of products. I was
(04:58):
doing personal projects where Ifelt Like it was not bringing
anything new, so kind of fadedout. My, my professional is
programmer. And that Job wasgiving more liberty, I was able
to travel and do programming,but photography, not that much
because I had to go to placesearly in the morning. And I was
(05:18):
like, oh, not too sure if it'sfor me. So I got quit for a few
years, until I got contacted todo a project in 360, with
cameras and programming. So Ihad to cold the whole system to
connect all of the camerastogether. And that changed my
(05:39):
life. Because this is so cool.And the first project I did
introduced, you were just liveevents actually, in people's
jumping, not the most creativethings, but I felt like there
was something to dig into withthis technology. So after one
year of going on tour with thethat system was only 20
(06:03):
Something cameras back then waslike Okay, let's try to see what
we can do as an art firm withthis. So I set up just a small
system with 24 cameras in thestudio. And this is where I met
the year old kid Henry.
Stanley Aryanto - The Wicked Hunt (06:29):
That's a good segue. You are a dancer
how Okay, okay, thank you. Yes,I can't, I can see how you guys
work really well as a team.
Eric Pare (06:50):
I felt like I spoke too much. So I wanted to give
you the ball.
Kim Henry (06:57):
So if I can, like, fill the gap from before we
started working together andwhat brought me to that place,
let's say. So I was a gymnastfor many years, like I did
competition. And then I decidedto study dance. And I was doing
mostly like, very high athletic,acrobatic stuff. I was
(07:21):
fascinated by details, but alsolike, Yeah, high intensity
movement and stuff like that.And at some point, I got
injured, and I got like asurgery. And I was, at that
point, I was actually wonderinglike I was reconsidering my
career as a whole. Andinterestingly enough, like that,
(07:48):
let's say that constraint becamelike, actually a new opportunity
to, like, see a new perspective,a new way to, to see the
movement and to see dance and toapproach dance differently. So I
became fascinated with moreminimalistic dance during the
(08:13):
time that I could not actuallymove. And during that process
of, yeah, getting interested inlike state of presence and
minimalism, and what wasactually like, how could i
Master my body in those verysubtle ways. This is where we
met. He was doing light paintingwith dancers in 360. And like,
(08:39):
painting is like long exposuretime. So the person has to stay
still and not move for very,like, a few seconds. And that
was exactly where I was at. Atthat point, I was looking for a
way to. So it became like, kindof a dance of stillness. So how
(09:02):
to fulfil the body, instillness. So
Eric Pare (09:08):
what she's not saying is that she changed the project
because she was so precise.Sure, so perfect with this
stillness, something I've neverseen before. It wasn't my
beginning. It was just a fewmonths old with this technique.
And I've never seen somethinglike that before. She she was so
good with this. And she becamethe face of that project that we
(09:32):
did in early 2013, nearly 10years ago, actually. And so that
project took life. It's broughta lot of new opportunities for
me, but I didn't know her. Shewas part of the project, but I
worked with her for one hour andthat was it. So after one year
(09:57):
of surfing on that project, Idecided to contact her back to
see what what's next. Where dowe go from here and, and then we
started really to work together.So long, much longer story. But
we started to travel togetherand to create more. So I'm not
taking pictures of Kim we aredual, we work together. She's a
(10:20):
big part of the creativeprocess. So many of the ideas
you see in our images come fromher. And yeah, it's been a while
now.
Kim Henry (10:30):
Yeah, yeah. So it's super interesting how, as you
said, like, are two verydifferent paths and expertise
actually meet in that artexpression that we made like
ours?
Stanley Aryanto - The Wicked Hunt (10:44):
That's incredible. I it just got me
excited to have both of youhere. And I was so happy when
Eric, you know, say that, youknow, you're gonna rock him in
there. Because it's like to havemy passion, you know, that I
have in life kind of collidetogether, you know, dance and
photography, that is justincredible. And I love hearing
that story. Right? It's, I mean,when it comes to photography, we
(11:08):
see it over and over again, thatwe love it from the, for the
creative part of it, but many ofus cannot lose that. lose, lose
sight of that, throughout thejourney, because you know,
whether we're looking for thatfollowers, the numbers or you
know, try to make money off ofit, and that kind of fade away.
So I think it's really importantto understand to remember why
(11:33):
you can get into it, and what'sthe biggest purpose? So that's
incredible. So I could say thatis so talk to me a little bit
about the 360 project, like whatis that project? How did it
come? Why? Why did the projectwhat what was the project there?
(11:56):
What was the main purpose ofthat project?
Eric Pare (11:59):
So the first project was for Chevrolet cars, and it
was during a tailgate for afootball game in Quebec City.
And I was hired to programme thesystem to connect all the
cameras together, and, and showand push the final video on
(12:22):
social media. Because back thenwe were pushing your videos
directly to Facebook. So thefolks were coming in the centre
of our structure, they werejumping, we're triggering the
cameras, and then they were ableto share the image. So it was x
experience experience orexperiment. Expert No, not
(12:44):
experiment, but if it experiencefor the users with a brand,
okay, yeah,
Kim Henry (12:50):
so at that point, it was really, it was not artistic.
It was like a brand paying for areally nice, cool experience for
the attendees.
Eric Pare (12:58):
Yeah. But there was so much to do with that kind of
system. And just this is whatI've been pushing for for the
past 10 years is to see what wecan do with this. And that's how
I grew up because back then waswas 20 something cameras, and
now I'm had 176 in onestructure, but I have 400
(13:22):
cameras to haul and the reasonwhy I have that many cameras is
because we've been doing so manyprojects, and sometimes we have
to ship cameras to differentcountry to make projects. So in
the end, like I'm here withtonnes of cameras, and tonnes of
creative projects, mostlyinterest Exede, which also 3d
scanning with a different kindof installation. But my
(13:45):
playground is really the 260it's it's an all theatre that we
turn into, just create aplayground, with no windows just
pitch black. And we have thesubject in the centre of the
rig. And then I do either likepainting or we do dance
(14:05):
movements, we experiment. And wetry to improve the technology
because we also teach how tomake that kind of system, how to
use multiple cameras togetherbecause the software we did back
in the days, it's stillmaintained, it's still developed
today. And we power up tonnes ofagencies and companies studios
(14:26):
working with that kind oftechnology.
Kim Henry (14:29):
And in our case, like what is interesting is that it's
a very like complex setup. It'sa lot of technology and there's
a lot of work behind itobviously like for the software
and everything but it's it'sreally how to put all that
technology like how to use itfor the art how to apply it for
(14:51):
the vision like the visual, theartistic vision.
Eric Pare (14:55):
So, if you remember in 2013 When we were We're
working together after asequence we were going outside
of the rig. And we're looking atthe playback on the one camera.
So we couldn't see the 360.Right away, we had just guess
what it would look like. And wewere editing from one camera
just to see if the light wasgood. So we're scrolling on the
(15:17):
one of the 24 cameras just tosee if it was okay or not. And
then it would take hours todownload all of the files, and
maybe some were good, maybe not.And now we push the button and
have full result is reallywithin a few seconds, fully
calibrated and, and ready to doview. So yeah, we, we worked a
(15:40):
lot on that we have a team hereworking on the software on the
hardware, so we have techniciansand and now when we go in the
studio, we can play withoutthinking too much about the
technology is it going to workor not, it is working, because
this is what the team is, isthere for.
Stanley Aryanto - The Wicked Hunt (15:58):
That's, that's incredible. And so you
guys are literally thegrandfather of 360 cameras, then
Eric Pare (16:04):
I don't want to say that, I don't feel comfortable
with that. Because othercompanies were there before me,
there are a few other ones. Butthe way I use it is the way I
want to live my life. And I'mlucky to have access to this.
And I work for this of course,but like I made the choice to
(16:27):
have that, that permanence to doand we're not many and currently
to that kind of thing. And but Iwant to keep doing this because
I feel like we're into somethingquite unique, super interesting.
And every time we go there, weknow that there's something else
(16:47):
to to experiment with somethingelse to discover. Yeah, that's
cool. Same with with photographywith one camera, but when you
have unrealistic 66 that you canstart to think about other ways
you can trigger the camera tomake different kinds of
sequences and, and play with thewith the time and space in 3d.
So it's endless. It's mindblowing, it's
Stanley Aryanto - The Wicked Hunt (17:09):
like when you get a camera, like you
have one perspective and you getto you know, like, if you have a
360 camera, then you have somany different perspectives that
you can play around with.
Eric Pare (17:20):
Yeah, but that's a good point. And that's how I
learned like painting you truly,because back in the days, there
were not there were no tutorialsand like waiting for me was just
like writing your name with aflashlight. It was not
interested in that. But thetechnique I crafted was to do
everything in one second becauseI wanted to have a very sharp
subject. And as I was buildingthis, I was doing trial and
(17:45):
errors, but I had access to 24angles. So I learned faster
because of that. So when youhave one camera, you see the
result, but the result of justfour with five degrees
difference is totally different.And having access to all of
those files made me learn somuch quicker than that is glad
for that. But it's very helpfulfor me.
Stanley Aryanto - The Wicked Hunt (18:06):
Wow, that's actually so cool. So I
have a few questions for QA aswell. But before we get to that,
I'm interested on how you tellme that you know, the first
thing was the point on shoot,and then you get into the 360
project. Now, where does thelight painting came in? Like, at
what time you go like, you knowwhat, I'm gonna start doing this
(18:30):
really cool stuff with the lightpainting and create, you know,
circles and you know, sparks andpattern and all these incredible
stuff that I have never seenbefore.
Eric Pare (18:41):
Yeah, and it makes sense. Once I explained the
reason why because I had nointerest with like painting, as
most people refer back thenbecause I didn't know any like
printers doing professionalwork. I found a few while
researching for that. But priorto that, like like I think we're
(19:03):
just making like growing hard tonotice at all. However, as I was
saying, I was in a very smallstudio with 24 cameras. It was
so small and I had experiencedwith strobes likes to do
lightweight softbox these bigthings, but I couldn't use that
because it was too big. And Iwas lighting up the whole rig
(19:24):
with my with my lights. So I hadto find a way to use very
concentrated light around mysubject. So I took a flashlight
and I started to draw aroundaround my subject and it worked.
And then I started to get moreinterested and I found really
good light painters like therewas already something back then.
(19:45):
So some very inspiring artistsand I worked with with one of
them and he's actually inMontreal, Patrick fashion which
is one of the best painters inthe world. We don't hear much
about him now because he's notvery active on social media, but
Is is so good with this. And Isaw him working. And he was
doing like a one minute exporterand crazy light. And it was
(20:07):
like, Oh, that can be somethinglike there's something there
crafting the light by hand. It'sso different this is this is so
different. So from that point, Iwas not behind the camera, it
was with the subject in front ofthe camera. And I wasn't
interested to do super longexposure, because I wanted to
have a very sharp subject. Sothis is how I came up with that
(20:29):
once again, exposure technique.But then how did we bring that
outdoors that happened with hima few years after a boss, I'm
passing the ball. Yeah. Do we gothere?
Stanley Aryanto - The Wicked Hunt (20:41):
Yeah, let's go.
Kim Henry (20:42):
Yeah, so we were back. In 2015, we were teaching
light painting in studio. We'vebeen teaching since the
beginning, basically, but andevery time like we were, every
time we would do a workshopwould ask for people to like,
would try to get some new toolsand different stuff the day of
(21:06):
so we could actually show peoplethat we can do like painting
with basically anything. So flipflops, Apple and things like
that. And a friend of us, wewere in in San Francisco, and a
friend of us actuallyrecommended us to go to a place
called Tap plastic, because wecould find some plastic stuff
and acrylic. And we got there.And then we're like, was it for
(21:32):
four feet, four feet longplastic to make for like,
fluorescent to cover fluorescentlights. And we're like, oh, that
could be a really nice tool.It's a very big tool, because
we've been trying maybe a fewmonths earlier to bring like
painting outdoors. And it was itwas not a big success. Like, we
(21:55):
were not satisfied. Everythingwas very visible. And we didn't
have like high quality. So wejust leave it at that for that
moment. But when we saw thosebig tools, those big plastic
tubes are like, Oh, I thinkthere's something there. So we
took one thing, yeah, just one,we only bought one we bought
(22:17):
like other stuff for theworkshop. And we did that. And
it was it was super fun. Butthat night, we went out on the
beach with that same friend. Andwe just started with the same
flashlight that we had the same.And it was actually good. Yeah,
it
Eric Pare (22:33):
was exactly the style, you know, of us working
outdoors at the blue hour withone circle. This is exactly what
we created that night on thefirst night trying something
with that long do we define thatstyle that is much more popular
than anything else we've beendoing in 360? Because this is
accessible. This is how wecreated a community. It's by
(22:56):
teachings on that night, wherewe were like, oh, it's something
so cool to play with. We'relike, what do we do with this?
Are we going to keep it as asecret? Or are we going to
reveal it? And we decided tojust share everything. And that
was a good decision. Becauseit's it's got to be easy. It's
(23:16):
accessible. It's not expensive.And now 10s of 1000s of people
are doing this. It's so cool.
Stanley Aryanto - The Wicked Hunt (23:23):
Yes, that is the right word. It's so
cool. Because like, I'm gettinggoosebumps right now just like
hearing you get like you're youguys explaining this, but like,
like, I looked at it and what'sreally cool about it is you
know, with with with light, asyou can experience, you can
(23:45):
create a smooth or like a sharpthing, especially at night with
photography. And you create thatand you create the dynamic you
you can use an even like youcreate, like with the tape to
create a different pattern andthen you have sparkles on the
you know, the outside. It's justso cool. Like, you know, like,
(24:09):
we always think How did you comeup with that and it's so cool to
hear the story behind it. So, sothen now I can call you guys the
grandfather of the tube lightpainting then is that right?
Eric Pare (24:25):
I will never claim that I invented that. Okay, some
people do but like PT has beenthere forever. And some people
we found after afterward thatsome people were especially
German people were using similartools but did nothing the same
way. But we found one picturethat is very aligned with what
(24:45):
we do and in dates from waybefore we were there probably in
the 90s Okay, and I have to findthat photographer. It's a it's a
music album and the cover iswith the tube picture and I
don't want to reveal that shownow. But we'll come back when
they would with the answer. Butyeah, so I never claimed that I
(25:08):
invented that. But clearly, wemade it popular. And that's
super satisfying. Can we readsomething we just received? We
just receive a message? I thinkit fits well with the topic.
Stanley Aryanto - The Wicked Hunt (25:19):
100% Jump in.
Eric Pare (25:23):
So yeah, I was thinking,
Stanley Aryanto - The Wicked Hunt (25:25):
is this the Indonesian? Is it
Indonesians as well.
Eric Pare (25:29):
So so someone on Instagram shared our work, and I
just replied, thanks forsharing. And she she replied
with this. Okay.
Kim Henry (25:39):
My pleasure. I love you guys work and have learned a
lot from you. You inspired me tolight pain to do light painting
to begin with. And I followedyour journey for many years now.
I am always impressed with eachnew creation, you and Kim come
up with. Fun fact, I met mypartner while I was like
painting on the beach because hewas doing the same thing. And we
(26:02):
bonded over both having followedyou and learned from you. I
can't emphasise enough how coolI think what you do
Eric Pare (26:09):
is it's so much more than the it's making people
connect and become lifepartners.
Stanley Aryanto - The Wicked Hunt (26:18):
What do you want more than this? Wow,
Eric Pare (26:21):
she made my day for sure.
Stanley Aryanto - The Wicked Hunt (26:24):
That's incredible. And this is why I
love having people on thepodcast this because this kind
of stuff you wouldn't hearotherwise. Right? And it That is
incredible. You know? That is?That is so cool. So like, you
know, I got a funny question foryou. And you know, Erica,
(26:46):
earlier in, in when we first canchat here in the podcast, you
can assess like, Well, I'm verytechnical. And then Kim is the
creative one. So I'm justwondering, how much of that, you
know, from the photography? Howmuch how does the creativity
work between the two of you? Howdo you come up with the concept
(27:10):
and you know, the pose and thelighting and the landscape?
Because you do think about that,you know, when I see your
photograph, you think aboutwhere you put it, you know,
where, whether it's at nighttimewith the stars, or remember,
you're posting something withthe tail of the Milky Way, and
you're like, I don't know wherethe Milky Way is, but the tail
is still pretty beautiful orsomething like that. So how does
(27:33):
that creativity work between thetwo of you to create this
masterpieces?
Eric Pare (27:44):
For me, it's trial and error. I know you try a lot
of things. And so sometimes yousee all of this is working. So
then you jam on that and thengets you other ideas. A lot of
my work is based on constraints.Okay, so as I was saying, on
360, if I use like painting wasbecause of the constraints, and
(28:07):
I impose myself a lot ofconstraints, like I'm never
using a flash outdoors, eventhough I know would be easier to
freeze my subject, I don't wantto go there. Because I feel like
there's so much more about usinga single source of light that
you use to light up your subjecthave the trace of light, it
feels like everything blendswell together. So I I keep my
(28:29):
thoughts on that. So there isthat constraint that is helping
the the creative decisions, thethe overall identity that we
crafted over over the years. Butthen can keep keeps challenging
me about things that I'm like,It's not possible. Don't even
think about that.
Kim Henry (28:47):
And I try it anyway.
Eric Pare (28:52):
And the best example is one day, she was like, Oh, I
can I could like take sand in myhands. And then you do the
circle. I was like, No, it's along exposures not going to
work. And of course, that'ssuper pretty because she she's
good with that kind of thing.She's super precise, to start to
(29:12):
release the sand one hand afterthe other while I was doing the
circle, like perfect timing, andshe got it the first night. We
try that.
Kim Henry (29:21):
If I can add to that, I think we're both very curious
people. And we both really likechallenges. So we'd like to push
or the limits of what we thinkis possible. And yeah, we always
use constraints. So let's say Iusually say as a joke, like, I
(29:41):
like plans, sometimes we planthing, but what I like even more
is to change plans. You know,like when the plan doesn't work,
or doesn't seem to work then howdo we adapt, adjust and come up
with something and play withwhat is here in front of us. So
I think it's a I don't know ifit's a philosophy, but it's a
(30:01):
way to approach our creativelife. And life in general, I'd
say
Stanley Aryanto - The Wicked Hunt (30:08):
100% 100% I think that is a lot of how,
you know, like, I, when I hearEric is like, very logical, it's
like, well, we try this, itworks. And then we kind of just,
you know, change it up. And thenit's just like, Yeah, you know,
let's just try something crazy.Yeah, I can see how you know
that dynamic really works.
Kim Henry (30:28):
But I'm also very analytic, like a, like, joke, as
I'm very like, up in the air.And, you know, but I'm very
analytic. And I like to, and I'musually the one who, when we do
something, let's say almost byluck, and we're not sure how it
happens, then I'm the one whotries to dig and understand and
(30:48):
like, figure out what what wedid. So we can actually do it
again. Maybe you're just so I'mpretty nerdy as well.
Eric Pare (30:56):
Yeah. And that's very helpful for me, because there
are so many details that I don'tsee. And she's, she knows, like
a lot of things that it's justtoo much for me. And that's,
that's also why she's helping alot in when we have, like
corporate games here this to do,like we get hired by brands to
do stuff in 360 and work withdancer sometimes. And she always
(31:22):
like, finds the little thingsthat we can improve. And like
she does creative directionhere, things that I'm so
clueless about. So, super luckythat she she sparked up this
whole story.
Kim Henry (31:35):
Yeah, so I guess once again, it's like, complementary
strengths that we putunderneath.
Stanley Aryanto - The Wicked Hunt (31:42):
Yeah. Wow, that is really cool. So now
I kind of want to ask a fewquestions for Kim. And, you
know, you mentioned how you werea dancer and you got injured and
and then you, you have toexplore a different a different
(32:02):
technique or different way toexpress yourself to dancing.
Now, when I see this withphotography, like, like what
Eric mentioned earlier, they'rejust incredible. Because, you
know, it's so sharp or for thatlong exposure, you can see a
very good details on yourself.What are some of the techniques
(32:25):
that, you know, that that youcan share? So the, you know, the
audience who are, you know,attempting to, to do what you
guys are doing can get the sameresult? How can you stand still,
for that long, you know, such along time. With such, I could
say, quite complicated poses aswell, like, you know, it's not
(32:48):
just like standing up, right,you have like your hands here.
Really, really elegant. poses?
Kim Henry (32:55):
Um, good question. Well, I guess the first thing is
communication, I, Eric needs tolet me know, like, we have a way
to communicate that, in orderfor me to know when he's about
to trigger, and when theexposure ends. So that's one
thing. We, when we teach, wealways say people, we always
(33:20):
tell people to hold theirbreath, because that's a very
technical aspect, but it helpsbecause even like the movement
of the lungs, like, when youinhale, I'd say it's going to
create movement in the body,which is enough to make the
person's blurred. But more onthe like, what practices I think
(33:41):
are helping me to achieve this.When it comes to, like, it
requires a lot of focus, like tobe able to sustain focus and
concentration for a long periodof time. So any meditative
practice helps in that regard.Also, like while we shoot I do
(34:08):
body scan to make sure that mymy limbs are like, at the same
place not only at the same placebut also that my body is still
vibrant and alive and full ofenergy if that makes sense.
Because otherwise like when youstay still for a long period of
time, like the body tends tolike get stiff a bit so yeah,
(34:32):
and I train so like so my bodyand muscles are able to maintain
like a position for for a bitbecause we don't think about it
but let's say even just liftingthe chin for a minute you can
already feel like the weight ofthe you know the head that is
(34:55):
heavy. So, so yeah, I don'tknow. It's a it's practice. And
between, I'll say, like,whenever I can also, I will move
between poses between like,
Eric Pare (35:11):
I thought you were chasing mosquitoes
Kim Henry (35:14):
that also different circumstances. So yeah, I just
do like a reset of my bodies inmy state of mind whenever I can.
So I'll like move it and likeshake it off to make sure that I
stay like, present.
Stanley Aryanto - The Wicked Hunt (35:34):
Nice. Yeah. Yeah. So like, you know,
you train your muscle and youknow, so that you can have the
strength basically, to keep itstill. And then you also relax
and come back to it to kind ofreset. So yeah, that 100% That,
that that's really cool.
Kim Henry (35:50):
I'll add to that I train my mind as well, because
we shoot in like harshconditions, sometimes, like
cold, high wind mosquitoes. So Iyeah, I think I think it
requires, or at least Ideveloped an endurance. Like, in
(36:12):
that regard, as well.
Stanley Aryanto - The Wicked Hunt (36:14):
Cool. Yeah, no, that's awesome. Let's
get to learn. And I'm sure thelisteners can can learn a lot
from that. Now, one thing thatI'm interested in is to hear you
know, it's been a long journeyfor you guys. You've been doing
this for a long, long time. Wasthere? What was the hardest time
(36:35):
that you have to come across?Was there any time where you
maybe you almost quit? Maybe youyou start? You know, not
enjoying what you do? Orwhatever it may be? Do you have
any some sort of struggles thatalmost, you know, a struggle
that that probably the biggeststruggle that you've ever come
(36:57):
across during your journey?
Eric Pare (36:59):
Can I take you Yeah, no, never. I've never had that.
No, never thought about quittingnever had any big struggle with
having fun. And you can see,like, based on the result, it's
a game we're playing in. It'sjust too much fun. So I
definitely think I'll grab that
Kim Henry (37:19):
one. Well, I think the fact that we have many
pillars in our creative journey,like we have 360, we have the
outdoor light painting, and wealso have like the dense
performative, outdoor art, Ifeel like it's a matter for us.
(37:43):
Of which one do we put moreenergy and efforts in, because
we don't do we don't do onething for a whole year, like we
go from one to the other, it'slike a, we're juggling with
those different techniques, Ithink, and I feel like they all
(38:04):
feed each other, meaning thatwhen we work hard on a project,
let's say 360, then we'lldiscover something and we
learned from it that we canapply to outdoor light painting.
So it's, it's kind of I feellike it prevents us from getting
Eric Pare (38:26):
from getting bored, though. So it's a very complete
technique because it like wehave to keep in shape. And you
all know that if you train everyday, you're going to be happier
because it changes you yourbrain Okay? And just doing this,
this kind of work is trainingOkay, when we walk for an hour
(38:49):
and sand dunes with a heavy bag,just to reach the final point
like looking for that perfectDune is quite challenging. And
this is what I really like aboutthis I actually prefer being
being like on a trip because Ifeel like I'm more active now
we're in the studio for two twomonths and I'm not as active
(39:14):
right by we have to post processthe images that's that's cool.
And it's kind of a it's kind ofa vacation because we can slow
down the pace here the studio,but then we're going to go back
in vacation into in two weeks onthe road because this also feels
like vacation. So when avacation is the vacation from
the other vacation. You don'tget bored.
Stanley Aryanto - The Wicked Hunt (39:37):
Oh yeah, that's awesome. It sounds
like a dream life.
Kim Henry (39:42):
Well, I feel like well, two things I was thinking
about. The first one is the factthat yeah, like we say that like
painting is a lifestyle and Ithink that's a bit but Eric just
explained like we we know thatin order to achieve what we want
to achieve We need to bedisciplined and take care of our
(40:02):
bodies of our mind. So have abalanced life, which means that
we don't work all day like wework really hard. But we also
like, kind of impose time tolike, Take breaks and like do
other stuff. And also, what wasthe other one? Oh, yeah, he
(40:22):
always he always says that.We're still at the beginning of
something. And I think that thatkind of links to what do they
call it? Like, the beginner'smind, something like that, you
know, like that approach ofcuriosity and of feeling that
we're not at the end of thejourney. So we're focusing on
(40:44):
the journey itself, which makesit like kind of, yeah, helpful.
Stanley Aryanto - The Wicked Hunt (40:50):
Exciting. Yeah, it's always exciting.
Eric Pare (40:54):
I have to just make some precision here, just to
clarify, because, like, we'retalking with all those, like,
beautiful journeys we have, andeverything looks perfect. And it
kind of is, and but it's mightseem to be impossible to reach
some time. Because, and becausewe're also paid to do this. It's
(41:18):
crazy. Like we were paid to, tohave this vacation and vacation
vacation. But it didn't arrive.We can one day, and this is by
doing that kind of work foryears. And so there was for me,
too, is 10 years of trials anderror before getting the first
(41:41):
bucks from from a creative work.So you have to be dedicated. Of
course, it's taking a long time,but it's really worth it.
Kim Henry (41:50):
Yeah, yeah, I think exactly. It's not like, it's not
easy. It's not like your successstory. It's it's like, it's
also, there's, as you said, likea lot of work on like both of
art, like different paths andcommon one. But I really feel
like the way we individuallyapproach our work and our art,
(42:17):
artwork is similar in ourdedication, and in our way to
focus on what we want to focuson, which is the positive, the
excitement, the like, thepossibilities. But we do have
setbacks, and we do have like,it's yeah, it's not always easy.
(42:39):
I'll say that. But I feel likeit's a conscious decision to
like, does that make sense?
Stanley Aryanto - The Wicked Hunt (42:50):
That is incredible. No, I love that.
I love that so much. Because,you know, like, one quote that
really stuck with me this yearwas whatever you focus on become
your reality. And I know likegoing through, you know, all of
this journey, I'm sure theremust be a lot of struggle that
you guys go through, but itseems like you don't focus on
(43:12):
that, like, given se, you justfocus on the beginner's mind,
you know, it's like, oh, well,you know, it's, we're, you know,
it's like seeing it's like goingto the beach for the first time
you're excited. And you know,you always just focus on that
next new exciting things likewhat you can came up with, what
sort of innovation you can dowith your art and so forth. So I
(43:35):
think that's a lot to, to, tolearn from, to be able to always
enjoy the journey through ouryou know, even the hardest time
and to a point where you guysdon't even feel it. I think
that's really cool.
Eric Pare (43:51):
I forget about the negatives. Just like my guts to
go against running away.
Stanley Aryanto - The Wicked Hunt (43:59):
That is awesome. That is so cool.
Yeah. So I have a just aninteresting question here. You
know, Eric, you're verytechnical. You love photography.
And Kim, you're very creative.You like dance. Now? How much?
(44:21):
How good are you on doing eachother's shows? If we were just
for fun thank you know, sup yourrole and have Eric do the
posting and the dancing and thephotography?
Eric Pare (44:35):
I have one most I have only one post. But yeah, we
have a few pictures where weswitch roles. Just because why
not? So it's good for us to playboth roles. We learn more by
doing this. And that's somethingwe we always mentioned in our
workshops is to try to do bothroles, because once you
(44:56):
understand the challenge of thesubject of the model and see due
for you to just to get better atdirecting?
Kim Henry (45:04):
Oh, yeah. But yeah, I enjoy doing the light painting,
I think I could probably getaway with the framing habits
have something that makes sense.But to change the settings
during the blue hour at thespeed that he does, that would
take me a while, that's forsure. He runs like back and
forth every few minutes tochange the settings. And
Eric Pare (45:26):
yes, and I handle three cameras on the field,
okay, because I always pin whatI do. I'm by myself, yeah,
handling three cameras, twodifferent focal length one film
me, and I run the largestsettings. But I'm used to that
because of the multi camerasystems. So I'm just used to to
handle love technology andthings like that. It's part of
(45:48):
the fun. But yeah, but I'm sureyou'd be good with with one
camera, if you can focus on thisone and just like, set the right
composition and setting, youknow.
Stanley Aryanto - The Wicked Hunt (46:02):
Wow, that's cool. So now I want to
talk about you know, your Kim,your latest project. And I've
been seeing this in Twitter, Ithink I saw it for the first
time. I think about a few weeksago, a couple a week ago or
something like that, right? Andactually, I'm not, I'm not gonna
say too much about it, becauseit's gonna give it away, I'll
(46:23):
let you ship it first, and thenI'll say something about it.
Kim Henry (46:29):
So my latest project is called timeless. It's kind of
the continually of what we'vebeen doing, or what we've been
doing for years, let's say,because when we were travelling,
we would arrive on locationvery, like, early, like, late
(46:49):
afternoon. And then we wouldshoot dance photography. So
sunset, dance and stuff likethat. So we can we could
actually connect to each other.And I could connect with the
environment, which for me isvery important my process. So So
(47:10):
time is is is my baby. It'sbasically like, What can I say?
Can I see what I'm sayingeverything.
Eric Pare (47:21):
But it's all about the textures. The first idea you
had was to, to use mud cracks,because we've been working on
cracks and some desserts. Andyou were very interested in that
texture. And you wanted toexperiment with having that on
your skin and combine both. Butthat didn't work. We we played
with this in studio for a fewweeks. And then we went to
(47:44):
replicate that in the field withthe real mud cracks, but we
couldn't find any. So then theproduct evolved into other
things. And we started toexperiment with different
textures like salt.
Kim Henry (47:55):
So different matter, different, different way to
immerse myself in theenvironment and connect with the
environment. Be it sand dust,but it's all started with clay.
And I think it's whole in linewith my fascination for, like
(48:17):
presence and like state ofattention and intention of the
body in connection with nature.So that's, that's how it
started.
Stanley Aryanto - The Wicked Hunt (48:29):
Wow. Yeah, that's cool. Like, I
really can feel that, like, youknow, the emotion. And you know,
when I first saw, I think Ericwas sharing one of the photo
from that, and then I just canfeel that emotion and you know,
with how you use the sand anduse that dynamic with with your
movement, because there was alot of movement in that in that
(48:51):
in that photo. Ironically, butnot gonna steal oil. There's a
lot of movement. So yeah,that's, that's really cool.
Thanks a lot for sharing that.Sorry. Yeah,
Kim Henry (49:01):
thank you for asking, Well, what I'm trying to what
we're trying to do with that isto kind of encapsulate really,
like, short moment of ephemeralperformances, because that's
what we do when we're outside.Like, I'm not posing per se, I'm
really performing dancing, andwe don't actually talk Eric is
(49:26):
there you take pictures, videos,but it's really like it's a
short moment of performance thatwe're trying to capture
basically.
Eric Pare (49:36):
Yeah, I don't direct her because I have no idea how
to do that. So I'm going to giveher some indications like can
you turn 90 degree because thesun it's better on that
direction but that's that'sabout it and the rest is all her
ideas and her way of movingsong. I'm just here behind the
camera, taking pictures, butthat's mostly her her thing
Kim Henry (49:59):
like Once again, that could exist if it were not from
that collaborative processbecause it's a very personal
project. And I wouldn't do itwith some somebody else and Eric
because I trust him. I know hisvision I, I trust his artistic
(50:22):
input. So, so yeah, I feel likeit's my performance. I kind of
it's a very vulnerable statewhen I perform. But obviously
could not exist if he was not onboard with me.
Stanley Aryanto - The Wicked Hunt (50:39):
Oh, yeah, that's, that's really
cool. So just to kind ofunderstand a little bit about
the process. So you know, youkind of get into find your
location. And basically, it cameyou do your dances and your
movement? Is that right? Andthen Eric was just there to
observe and then take photowhenever you feel it feels like
it's a good frame.
Eric Pare (51:01):
Burst Mode, I just
continues to burst mode. I haveno idea what I'm doing. Love
that.
Stanley Aryanto - The Wicked Hunt (51:20):
So, Erica, I was still wondering
when you take photo of that, doyou? Like do you know what Kim
was? Yeah. Do you know what Kimwas about to do? Like, or have
you ever seen the movement? Oris it like, absolutely new, just
go like, whoa, okay, that wascool kind of thing. Or it's
like, okay, you know, this iswhere she can usually take his
(51:44):
and so forth.
Eric Pare (51:46):
Alright, so I never watched movies, okay. But I used
to back in the days andsometimes I would ask my friend,
if you can we go to watch amovie and I don't want to know
what that would be a lot ofsurprise. Okay. And sometimes I
feel like it's like this withKim. Okay, so I'm behind the
camera. I have no idea what'sgoing on. I know it's going to
be a show. Okay. And I'm thelucky one, assisting this
(52:09):
wonderful dance show. And I getto click the button. And that's
about it. But yeah, it's alwaysfun to the witness. I feel very
lucky to be part of this.
Stanley Aryanto - The Wicked Hunt (52:23):
Wow. Yeah. No, that's cool. I I'm
much the same. Actually. When Isteal movie, I hate watching
trailers. I just go like, thatlooks interesting. And you know,
I want to watch it. So yeah,that's, that's really cool to
hear. Well, guys, we're kind ofhitting the one hour mark. And
you know, it's been so much fun.It's so much pleasure to hear to
have you here and to hear yourstory. Now, before you go. One
(52:46):
last question that I always askmy guests. And both of you can
give me one each right. I sawEric's getting tense.
Eric Pare (52:56):
What's that question? I know. I'm not
Stanley Aryanto - The Wicked Hunt (53:03):
awesome. Well, you know, just you just
say this earlier. You just saythat you like surprise. So
here's the surprise. If therewas one advice that you know,
you could give to an audience orto your younger self, or you
know, to anyone in this world,whether it be photography live
(53:24):
or whatever it may be, whatwould that advice be?
Eric Pare (53:30):
Yeah, so I'm going to be okay, I guess I'm saying that
to myself, just because I doubtthat, but everything's gonna be
okay. Just keep doing what youdo. Should I give?
Kim Henry (53:45):
To my younger self? That's a good one. Let me think,
I guess, I guess I would say tonot take things too seriously.
To connect to the playfulness,and to the curiosity, and yeah,
(54:13):
probably like to trust yourintuition.
Stanley Aryanto - The Wicked Hunt (54:18):
Yeah. Wow. That's really great advice.
So have fun, and it's all gonnabe okay. That's perfect. It's so
simple, but it makes sense.Like, where are we complicated
ly so
Kim Henry (54:30):
yeah, but not not in the sense that not in I don't
mean this in a like denial way.Like it's going to be okay.
You're not going to faceanything, but just to trust that
you actually have the tool toface whatever you're gonna have
on the path, you know?
Stanley Aryanto - The Wicked Hunt (54:48):
Yeah. Wow. Now that's that is a great
advice. All right. You guysreally appreciate your time
here. I really enjoy having youhere. So much fun talking to
you. You guys are just You know,such a great human being,
hopefully I get to connect andactually meet you guys in person
one day. But for the audiencewho want to get in touch with
(55:09):
you who want to learn more aboutwhat you do, because I know you
guys are teaching and sharing somuch knowledge on, you know, to
paintings and all this stuff.And perhaps for those of them
who want to sign up to yourworkshop, what is the best way
to connect with you and to findyou.
Eric Pare (55:26):
So we rarely do workshops, while we did a lot in
the days, but I think we do twoper year. And it's always
organised with biggerorganisation. So we don't do any
by ourselves for the moment. Butwe teach everything online on
YouTube for free, never chargeanything for, for tutorials, all
(55:47):
of the knowledge is there. Andyou can find all of the links
from tube stories that TV
Stanley Aryanto - The Wicked Hunt (55:55):
by and fantastic and I'll be sure
to put that you know, that linkon the description as well as
both of your social media sothat you know people can
connect, connect with your workmore and see more of your work.
And if this is the first time ofyou. For listeners, if this is
the first time that you heard,Eric and Kim, man, you're in for
(56:19):
a treat, just just go intosocial media trust me, you know,
I'll buy you ice cream if youdon't
Yeah, no, no, but if you if youguys get intrigued with the with
the with, you know, with theirwork, it's the other way around.
You guys buy me ice cream, soI'm ready to eat a lot of ice
(56:40):
cream. But um, yeah. Thanks alot, guys for being here. I love
talking to you guys. There'sjust so much fun. Perhaps one
day, we'll have you back. Andwe'll have we'll cover a
different topic. But it's beensuch a pleasure. You know, I
follow your work for a while.And I've seen what you did with
(57:03):
photography with lights andinnovation that you put in the
space and how you share a lot ofthis with the people. And it's
it's just been an honour to beable to actually talk to you
guys, and have you guys in mypodcast sharing these inspiring
stories. So thanks a lot forbeing here, guys.
Eric Pare (57:22):
Thank you, Stanley. We're super happy to be part of
your wonderful podcast. Yeah, it
Kim Henry (57:26):
was a pleasure. Thank you so much.
Stanley Aryanto - The Wicked Hunt (57:29):
Fantastic. Well, weekenders thank you for
very much for tuning in.Hopefully you get a lot of gems
from that. And if you haven'talready done so make sure you
check out both Kim and Eric aswell as their work. Dances and
Kim's latest project issomething that are quite
(57:51):
enjoyed. Actually, there's somany emotions in just a
stillness. So make sure youcheck it out. But with that
being said, if you enjoyed thisconversation, make sure you
leave a review on on the podcaston the platform so that more
more people can listen in andheard about them. But with that
being say, keep creating, keepshooting and I'll see you guys
(58:15):
next week.
And it was it was not a big success. But when we saw
those big tools, those bigplastic tubes are like, Oh, I
think there's something there.
Eric Pare (00:08):
So on that night, where we were like, oh, there's
something so cool to play with.We're like, what do we do with
this? Are we going to keep it asa secret, or we're going to
reveal it. And now 10s of 1000sof people are doing this.
Stanley Aryanto - The Wicked Hunt (00:24):
Hey Wicked Hunters. Welcome back to
The Art of Photography podcast,where we share artists journey
and share how photography givenus hope, purpose and happiness.
And today, we have someone whois an innovator in the
photography industry, someonewho actually I followed a long,
(00:45):
long time ago. It's such aprivilege to have them here
today, and being able to hearthe story behind not only their
photography, but also theinnovation behind it, because
trust me, it will blow your way.Blow your mind away. So today we
have Eric and Kim. How are youguys doing?
Eric Pare (01:06):
Hi. So good to be with you today. Tonight for us
in mourning for you. We'll startright away. I had a question for
you. Okay.
Stanley Aryanto - The Wicked Hunt (01:17):
Oh, right away. I love this. This is
great. I thought I was supposedto be the one asking question.
Eric Pare (01:23):
Do you speak? You speak Indonesian, right? Yeah, I
do. I know one word. Okay. And Ihave no idea how to pronounce
it. But I want to tell that wordto Kim. Because this is one
comment that always come fromIndonesian fans. The right to
Kim. So if you saw that, Karen
Stanley Aryanto - The Wicked Hunt (01:44):
Kerim gramme, what does that mean?
Yeah, it's actually meanawesome. Oh. Yeah. It's like,
oh, grand is like, oh, it'slike, awesome. Yeah. Yeah,
that's, I mean, you guys aredoing really awesome stuff.
100%. You know, when I firstcome across your work, one of
(02:07):
the thing that really intriguedme is just the way you do slide
and how you like painted rightbehind the portrait behind your
subject. And I thought it wassomething that I had never seen
before. So when I first saw thatright away, I was like, wow,
like, that's incredible. And Ihave I have made a few attempts
(02:31):
to buy the tube and everythingbut I've never followed through
with with it. So you know, nowthat I've gone on a podcast with
you, maybe that's my incentiveto actually make that happen.
But, look, it's so incredible tosee how both of you work
together, you know, as a as aphotographer, and dance and
(02:52):
before we can move forward with,you know, all the different
question. Tell us a little bitabout how did it all get
started? You know, how did itall get started for you, Eric as
photographer and how it kind oftranspires with Kim and you
know, half of two different workof art meet together.
Eric Pare (03:14):
Okay, so I think you already know that's the
reference so many photographers,I was travelling with a point
and shoot camera. You heard youheard that before? Right?
Stanley Aryanto - The Wicked Hunt (03:27):
Yeah,
Eric Pare (03:28):
I got super lucky because as I was very interested
into photography, I wanted tobecome professional. But where
do you start? Like if you haveno one? Like no, none of your
friends? And that it doing thisas a profession as a business?
Or how do you start and I wassuper interested about
photography, and I had a pointand shoot camera, and I was
(03:51):
travelling, and I was takingpictures of plants, birds and
stuff. And just been lucky. Ihad a friend and agency and he
called me one day. So how canyou do that? That gig with us
taking pictures of product? Andwas like, Oh yeah, I bought my
(04:12):
first DSLR like the cheapest oneI could find just because that
that's what I was thinking was agood way to get started. And I
killed them. Like my first gigwas so great, because it was
something that was kind of easyfor me with the small experience
I had. I think I've been luckyand I did a great job with it.
(04:36):
So then I got another one oneand then I've been able to buy
my first full frame which was afive D one back there. So it's a
long time ago. And and thenyeah, I've continued to do
progressively for a year or two.But it's the passion started to
fade out because we're justtaking photos of products. I was
(04:58):
doing personal projects where Ifelt Like it was not bringing
anything new, so kind of fadedout. My, my professional is
programmer. And that Job wasgiving more liberty, I was able
to travel and do programming,but photography, not that much
because I had to go to placesearly in the morning. And I was
(05:18):
like, oh, not too sure if it'sfor me. So I got quit for a few
years, until I got contacted todo a project in 360, with
cameras and programming. So Ihad to cold the whole system to
connect all of the camerastogether. And that changed my
(05:39):
life. Because this is so cool.And the first project I did
introduced, you were just liveevents actually, in people's
jumping, not the most creativethings, but I felt like there
was something to dig into withthis technology. So after one
year of going on tour with thethat system was only 20
(06:03):
Something cameras back then waslike Okay, let's try to see what
we can do as an art firm withthis. So I set up just a small
system with 24 cameras in thestudio. And this is where I met
the year old kid Henry.
Stanley Aryanto - The Wicked Hunt (06:29):
That's a good segue. You are a dancer
how Okay, okay, thank you. Yes,I can't, I can see how you guys
work really well as a team.
Eric Pare (06:50):
I felt like I spoke too much. So I wanted to give
you the ball.
Kim Henry (06:57):
So if I can, like, fill the gap from before we
started working together andwhat brought me to that place,
let's say. So I was a gymnastfor many years, like I did
competition. And then I decidedto study dance. And I was doing
mostly like, very high athletic,acrobatic stuff. I was
(07:21):
fascinated by details, but alsolike, Yeah, high intensity
movement and stuff like that.And at some point, I got
injured, and I got like asurgery. And I was, at that
point, I was actually wonderinglike I was reconsidering my
career as a whole. Andinterestingly enough, like that,
(07:48):
let's say that constraint becamelike, actually a new opportunity
to, like, see a new perspective,a new way to, to see the
movement and to see dance and toapproach dance differently. So I
became fascinated with moreminimalistic dance during the
(08:13):
time that I could not actuallymove. And during that process
of, yeah, getting interested inlike state of presence and
minimalism, and what wasactually like, how could i
Master my body in those verysubtle ways. This is where we
met. He was doing light paintingwith dancers in 360. And like,
(08:39):
painting is like long exposuretime. So the person has to stay
still and not move for very,like, a few seconds. And that
was exactly where I was at. Atthat point, I was looking for a
way to. So it became like, kindof a dance of stillness. So how
(09:02):
to fulfil the body, instillness. So
Eric Pare (09:08):
what she's not saying is that she changed the project
because she was so precise.Sure, so perfect with this
stillness, something I've neverseen before. It wasn't my
beginning. It was just a fewmonths old with this technique.
And I've never seen somethinglike that before. She she was so
good with this. And she becamethe face of that project that we
(09:32):
did in early 2013, nearly 10years ago, actually. And so that
project took life. It's broughta lot of new opportunities for
me, but I didn't know her. Shewas part of the project, but I
worked with her for one hour andthat was it. So after one year
(09:57):
of surfing on that project, Idecided to contact her back to
see what what's next. Where dowe go from here and, and then we
started really to work together.So long, much longer story. But
we started to travel togetherand to create more. So I'm not
taking pictures of Kim we aredual, we work together. She's a
(10:20):
big part of the creativeprocess. So many of the ideas
you see in our images come fromher. And yeah, it's been a while
now.
Kim Henry (10:30):
Yeah, yeah. So it's super interesting how, as you
said, like, are two verydifferent paths and expertise
actually meet in that artexpression that we made like
ours?
Stanley Aryanto - The Wicked Hunt (10:44):
That's incredible. I it just got me
excited to have both of youhere. And I was so happy when
Eric, you know, say that, youknow, you're gonna rock him in
there. Because it's like to havemy passion, you know, that I
have in life kind of collidetogether, you know, dance and
photography, that is justincredible. And I love hearing
that story. Right? It's, I mean,when it comes to photography, we
(11:08):
see it over and over again, thatwe love it from the, for the
creative part of it, but many ofus cannot lose that. lose, lose
sight of that, throughout thejourney, because you know,
whether we're looking for thatfollowers, the numbers or you
know, try to make money off ofit, and that kind of fade away.
So I think it's really importantto understand to remember why
(11:33):
you can get into it, and what'sthe biggest purpose? So that's
incredible. So I could say thatis so talk to me a little bit
about the 360 project, like whatis that project? How did it
come? Why? Why did the projectwhat what was the project there?
(11:56):
What was the main purpose ofthat project?
Eric Pare (11:59):
So the first project was for Chevrolet cars, and it
was during a tailgate for afootball game in Quebec City.
And I was hired to programme thesystem to connect all the
cameras together, and, and showand push the final video on
(12:22):
social media. Because back thenwe were pushing your videos
directly to Facebook. So thefolks were coming in the centre
of our structure, they werejumping, we're triggering the
cameras, and then they were ableto share the image. So it was x
experience experience orexperiment. Expert No, not
(12:44):
experiment, but if it experiencefor the users with a brand,
okay, yeah,
Kim Henry (12:50):
so at that point, it was really, it was not artistic.
It was like a brand paying for areally nice, cool experience for
the attendees.
Eric Pare (12:58):
Yeah. But there was so much to do with that kind of
system. And just this is whatI've been pushing for for the
past 10 years is to see what wecan do with this. And that's how
I grew up because back then waswas 20 something cameras, and
now I'm had 176 in onestructure, but I have 400
(13:22):
cameras to haul and the reasonwhy I have that many cameras is
because we've been doing so manyprojects, and sometimes we have
to ship cameras to differentcountry to make projects. So in
the end, like I'm here withtonnes of cameras, and tonnes of
creative projects, mostlyinterest Exede, which also 3d
scanning with a different kindof installation. But my
(13:45):
playground is really the 260it's it's an all theatre that we
turn into, just create aplayground, with no windows just
pitch black. And we have thesubject in the centre of the
rig. And then I do either likepainting or we do dance
(14:05):
movements, we experiment. And wetry to improve the technology
because we also teach how tomake that kind of system, how to
use multiple cameras togetherbecause the software we did back
in the days, it's stillmaintained, it's still developed
today. And we power up tonnes ofagencies and companies studios
(14:26):
working with that kind oftechnology.
Kim Henry (14:29):
And in our case, like what is interesting is that it's
a very like complex setup. It'sa lot of technology and there's
a lot of work behind itobviously like for the software
and everything but it's it'sreally how to put all that
technology like how to use itfor the art how to apply it for
(14:51):
the vision like the visual, theartistic vision.
Eric Pare (14:55):
So, if you remember in 2013 When we were We're
working together after asequence we were going outside
of the rig. And we're looking atthe playback on the one camera.
So we couldn't see the 360.Right away, we had just guess
what it would look like. And wewere editing from one camera
just to see if the light wasgood. So we're scrolling on the
(15:17):
one of the 24 cameras just tosee if it was okay or not. And
then it would take hours todownload all of the files, and
maybe some were good, maybe not.And now we push the button and
have full result is reallywithin a few seconds, fully
calibrated and, and ready to doview. So yeah, we, we worked a
(15:40):
lot on that we have a team hereworking on the software on the
hardware, so we have techniciansand and now when we go in the
studio, we can play withoutthinking too much about the
technology is it going to workor not, it is working, because
this is what the team is, isthere for.
Stanley Aryanto - The Wicked Hunt (15:58):
That's, that's incredible. And so you
guys are literally thegrandfather of 360 cameras, then
Eric Pare (16:04):
I don't want to say that, I don't feel comfortable
with that. Because othercompanies were there before me,
there are a few other ones. Butthe way I use it is the way I
want to live my life. And I'mlucky to have access to this.
And I work for this of course,but like I made the choice to
(16:27):
have that, that permanence to doand we're not many and currently
to that kind of thing. And but Iwant to keep doing this because
I feel like we're into somethingquite unique, super interesting.
And every time we go there, weknow that there's something else
(16:47):
to to experiment with somethingelse to discover. Yeah, that's
cool. Same with with photographywith one camera, but when you
have unrealistic 66 that you canstart to think about other ways
you can trigger the camera tomake different kinds of
sequences and, and play with thewith the time and space in 3d.
So it's endless. It's mindblowing, it's
Stanley Aryanto - The Wicked Hunt (17:09):
like when you get a camera, like you
have one perspective and you getto you know, like, if you have a
360 camera, then you have somany different perspectives that
you can play around with.
Eric Pare (17:20):
Yeah, but that's a good point. And that's how I
learned like painting you truly,because back in the days, there
were not there were no tutorialsand like waiting for me was just
like writing your name with aflashlight. It was not
interested in that. But thetechnique I crafted was to do
everything in one second becauseI wanted to have a very sharp
subject. And as I was buildingthis, I was doing trial and
(17:45):
errors, but I had access to 24angles. So I learned faster
because of that. So when youhave one camera, you see the
result, but the result of justfour with five degrees
difference is totally different.And having access to all of
those files made me learn somuch quicker than that is glad
for that. But it's very helpfulfor me.
Stanley Aryanto - The Wicked Hunt (18:06):
Wow, that's actually so cool. So I
have a few questions for QA aswell. But before we get to that,
I'm interested on how you tellme that you know, the first
thing was the point on shoot,and then you get into the 360
project. Now, where does thelight painting came in? Like, at
what time you go like, you knowwhat, I'm gonna start doing this
(18:30):
really cool stuff with the lightpainting and create, you know,
circles and you know, sparks andpattern and all these incredible
stuff that I have never seenbefore.
Eric Pare (18:41):
Yeah, and it makes sense. Once I explained the
reason why because I had nointerest with like painting, as
most people refer back thenbecause I didn't know any like
printers doing professionalwork. I found a few while
researching for that. But priorto that, like like I think we're
(19:03):
just making like growing hard tonotice at all. However, as I was
saying, I was in a very smallstudio with 24 cameras. It was
so small and I had experiencedwith strobes likes to do
lightweight softbox these bigthings, but I couldn't use that
because it was too big. And Iwas lighting up the whole rig
(19:24):
with my with my lights. So I hadto find a way to use very
concentrated light around mysubject. So I took a flashlight
and I started to draw aroundaround my subject and it worked.
And then I started to get moreinterested and I found really
good light painters like therewas already something back then.
(19:45):
So some very inspiring artistsand I worked with with one of
them and he's actually inMontreal, Patrick fashion which
is one of the best painters inthe world. We don't hear much
about him now because he's notvery active on social media, but
Is is so good with this. And Isaw him working. And he was
doing like a one minute exporterand crazy light. And it was
(20:07):
like, Oh, that can be somethinglike there's something there
crafting the light by hand. It'sso different this is this is so
different. So from that point, Iwas not behind the camera, it
was with the subject in front ofthe camera. And I wasn't
interested to do super longexposure, because I wanted to
have a very sharp subject. Sothis is how I came up with that
(20:29):
once again, exposure technique.But then how did we bring that
outdoors that happened with hima few years after a boss, I'm
passing the ball. Yeah. Do we gothere?
Stanley Aryanto - The Wicked Hunt (20:41):
Yeah, let's go.
Kim Henry (20:42):
Yeah, so we were back. In 2015, we were teaching
light painting in studio. We'vebeen teaching since the
beginning, basically, but andevery time like we were, every
time we would do a workshopwould ask for people to like,
would try to get some new toolsand different stuff the day of
(21:06):
so we could actually show peoplethat we can do like painting
with basically anything. So flipflops, Apple and things like
that. And a friend of us, wewere in in San Francisco, and a
friend of us actuallyrecommended us to go to a place
called Tap plastic, because wecould find some plastic stuff
and acrylic. And we got there.And then we're like, was it for
(21:32):
four feet, four feet longplastic to make for like,
fluorescent to cover fluorescentlights. And we're like, oh, that
could be a really nice tool.It's a very big tool, because
we've been trying maybe a fewmonths earlier to bring like
painting outdoors. And it was itwas not a big success. Like, we
(21:55):
were not satisfied. Everythingwas very visible. And we didn't
have like high quality. So wejust leave it at that for that
moment. But when we saw thosebig tools, those big plastic
tubes are like, Oh, I thinkthere's something there. So we
took one thing, yeah, just one,we only bought one we bought
(22:17):
like other stuff for theworkshop. And we did that. And
it was it was super fun. Butthat night, we went out on the
beach with that same friend. Andwe just started with the same
flashlight that we had the same.And it was actually good. Yeah,
it
Eric Pare (22:33):
was exactly the style, you know, of us working
outdoors at the blue hour withone circle. This is exactly what
we created that night on thefirst night trying something
with that long do we define thatstyle that is much more popular
than anything else we've beendoing in 360? Because this is
accessible. This is how wecreated a community. It's by
(22:56):
teachings on that night, wherewe were like, oh, it's something
so cool to play with. We'relike, what do we do with this?
Are we going to keep it as asecret? Or are we going to
reveal it? And we decided tojust share everything. And that
was a good decision. Becauseit's it's got to be easy. It's
(23:16):
accessible. It's not expensive.And now 10s of 1000s of people
are doing this. It's so cool.
Stanley Aryanto - The Wicked Hunt (23:23):
Yes, that is the right word. It's so
cool. Because like, I'm gettinggoosebumps right now just like
hearing you get like you're youguys explaining this, but like,
like, I looked at it and what'sreally cool about it is you
know, with with with light, asyou can experience, you can
(23:45):
create a smooth or like a sharpthing, especially at night with
photography. And you create thatand you create the dynamic you
you can use an even like youcreate, like with the tape to
create a different pattern andthen you have sparkles on the
you know, the outside. It's justso cool. Like, you know, like,
(24:09):
we always think How did you comeup with that and it's so cool to
hear the story behind it. So, sothen now I can call you guys the
grandfather of the tube lightpainting then is that right?
Eric Pare (24:25):
I will never claim that I invented that. Okay, some
people do but like PT has beenthere forever. And some people
we found after afterward thatsome people were especially
German people were using similartools but did nothing the same
way. But we found one picturethat is very aligned with what
(24:45):
we do and in dates from waybefore we were there probably in
the 90s Okay, and I have to findthat photographer. It's a it's a
music album and the cover iswith the tube picture and I
don't want to reveal that shownow. But we'll come back when
they would with the answer. Butyeah, so I never claimed that I
(25:08):
invented that. But clearly, wemade it popular. And that's
super satisfying. Can we readsomething we just received? We
just receive a message? I thinkit fits well with the topic.
Stanley Aryanto - The Wicked Hunt (25:19):
100% Jump in.
Eric Pare (25:23):
So yeah, I was thinking,
Stanley Aryanto - The Wicked Hunt (25:25):
is this the Indonesian? Is it
Indonesians as well.
Eric Pare (25:29):
So so someone on Instagram shared our work, and I
just replied, thanks forsharing. And she she replied
with this. Okay.
Kim Henry (25:39):
My pleasure. I love you guys work and have learned a
lot from you. You inspired me tolight pain to do light painting
to begin with. And I followedyour journey for many years now.
I am always impressed with eachnew creation, you and Kim come
up with. Fun fact, I met mypartner while I was like
painting on the beach because hewas doing the same thing. And we
(26:02):
bonded over both having followedyou and learned from you. I
can't emphasise enough how coolI think what you do
Eric Pare (26:09):
is it's so much more than the it's making people
connect and become lifepartners.
Stanley Aryanto - The Wicked Hunt (26:18):
What do you want more than this? Wow,
Eric Pare (26:21):
she made my day for sure.
Stanley Aryanto - The Wicked Hunt (26:24):
That's incredible. And this is why I
love having people on thepodcast this because this kind
of stuff you wouldn't hearotherwise. Right? And it That is
incredible. You know? That is?That is so cool. So like, you
know, I got a funny question foryou. And you know, Erica,
(26:46):
earlier in, in when we first canchat here in the podcast, you
can assess like, Well, I'm verytechnical. And then Kim is the
creative one. So I'm justwondering, how much of that, you
know, from the photography? Howmuch how does the creativity
work between the two of you? Howdo you come up with the concept
(27:10):
and you know, the pose and thelighting and the landscape?
Because you do think about that,you know, when I see your
photograph, you think aboutwhere you put it, you know,
where, whether it's at nighttimewith the stars, or remember,
you're posting something withthe tail of the Milky Way, and
you're like, I don't know wherethe Milky Way is, but the tail
is still pretty beautiful orsomething like that. So how does
(27:33):
that creativity work between thetwo of you to create this
masterpieces?
Eric Pare (27:44):
For me, it's trial and error. I know you try a lot
of things. And so sometimes yousee all of this is working. So
then you jam on that and thengets you other ideas. A lot of
my work is based on constraints.Okay, so as I was saying, on
360, if I use like painting wasbecause of the constraints, and
(28:07):
I impose myself a lot ofconstraints, like I'm never
using a flash outdoors, eventhough I know would be easier to
freeze my subject, I don't wantto go there. Because I feel like
there's so much more about usinga single source of light that
you use to light up your subjecthave the trace of light, it
feels like everything blendswell together. So I I keep my
(28:29):
thoughts on that. So there isthat constraint that is helping
the the creative decisions, thethe overall identity that we
crafted over over the years. Butthen can keep keeps challenging
me about things that I'm like,It's not possible. Don't even
think about that.
Kim Henry (28:47):
And I try it anyway.
Eric Pare (28:52):
And the best example is one day, she was like, Oh, I
can I could like take sand in myhands. And then you do the
circle. I was like, No, it's along exposures not going to
work. And of course, that'ssuper pretty because she she's
good with that kind of thing.She's super precise, to start to
(29:12):
release the sand one hand afterthe other while I was doing the
circle, like perfect timing, andshe got it the first night. We
try that.
Kim Henry (29:21):
If I can add to that, I think we're both very curious
people. And we both really likechallenges. So we'd like to push
or the limits of what we thinkis possible. And yeah, we always
use constraints. So let's say Iusually say as a joke, like, I
(29:41):
like plans, sometimes we planthing, but what I like even more
is to change plans. You know,like when the plan doesn't work,
or doesn't seem to work then howdo we adapt, adjust and come up
with something and play withwhat is here in front of us. So
I think it's a I don't know ifit's a philosophy, but it's a
(30:01):
way to approach our creativelife. And life in general, I'd
say
Stanley Aryanto - The Wicked Hunt (30:08):
100% 100% I think that is a lot of how,
you know, like, I, when I hearEric is like, very logical, it's
like, well, we try this, itworks. And then we kind of just,
you know, change it up. And thenit's just like, Yeah, you know,
let's just try something crazy.Yeah, I can see how you know
that dynamic really works.
Kim Henry (30:28):
But I'm also very analytic, like a, like, joke, as
I'm very like, up in the air.And, you know, but I'm very
analytic. And I like to, and I'musually the one who, when we do
something, let's say almost byluck, and we're not sure how it
happens, then I'm the one whotries to dig and understand and
(30:48):
like, figure out what what wedid. So we can actually do it
again. Maybe you're just so I'mpretty nerdy as well.
Eric Pare (30:56):
Yeah. And that's very helpful for me, because there
are so many details that I don'tsee. And she's, she knows, like
a lot of things that it's justtoo much for me. And that's,
that's also why she's helping alot in when we have, like
corporate games here this to do,like we get hired by brands to
do stuff in 360 and work withdancer sometimes. And she always
(31:22):
like, finds the little thingsthat we can improve. And like
she does creative directionhere, things that I'm so
clueless about. So, super luckythat she she sparked up this
whole story.
Kim Henry (31:35):
Yeah, so I guess once again, it's like, complementary
strengths that we putunderneath.
Stanley Aryanto - The Wicked Hunt (31:42):
Yeah. Wow, that is really cool. So now
I kind of want to ask a fewquestions for Kim. And, you
know, you mentioned how you werea dancer and you got injured and
and then you, you have toexplore a different a different
(32:02):
technique or different way toexpress yourself to dancing.
Now, when I see this withphotography, like, like what
Eric mentioned earlier, they'rejust incredible. Because, you
know, it's so sharp or for thatlong exposure, you can see a
very good details on yourself.What are some of the techniques
(32:25):
that, you know, that that youcan share? So the, you know, the
audience who are, you know,attempting to, to do what you
guys are doing can get the sameresult? How can you stand still,
for that long, you know, such along time. With such, I could
say, quite complicated poses aswell, like, you know, it's not
(32:48):
just like standing up, right,you have like your hands here.
Really, really elegant. poses?
Kim Henry (32:55):
Um, good question. Well, I guess the first thing is
communication, I, Eric needs tolet me know, like, we have a way
to communicate that, in orderfor me to know when he's about
to trigger, and when theexposure ends. So that's one
thing. We, when we teach, wealways say people, we always
(33:20):
tell people to hold theirbreath, because that's a very
technical aspect, but it helpsbecause even like the movement
of the lungs, like, when youinhale, I'd say it's going to
create movement in the body,which is enough to make the
person's blurred. But more onthe like, what practices I think
(33:41):
are helping me to achieve this.When it comes to, like, it
requires a lot of focus, like tobe able to sustain focus and
concentration for a long periodof time. So any meditative
practice helps in that regard.Also, like while we shoot I do
(34:08):
body scan to make sure that mymy limbs are like, at the same
place not only at the same placebut also that my body is still
vibrant and alive and full ofenergy if that makes sense.
Because otherwise like when youstay still for a long period of
time, like the body tends tolike get stiff a bit so yeah,
(34:32):
and I train so like so my bodyand muscles are able to maintain
like a position for for a bitbecause we don't think about it
but let's say even just liftingthe chin for a minute you can
already feel like the weight ofthe you know the head that is
(34:55):
heavy. So, so yeah, I don'tknow. It's a it's practice. And
between, I'll say, like,whenever I can also, I will move
between poses between like,
Eric Pare (35:11):
I thought you were chasing mosquitoes
Kim Henry (35:14):
that also different circumstances. So yeah, I just
do like a reset of my bodies inmy state of mind whenever I can.
So I'll like move it and likeshake it off to make sure that I
stay like, present.
Stanley Aryanto - The Wicked Hunt (35:34):
Nice. Yeah. Yeah. So like, you know,
you train your muscle and youknow, so that you can have the
strength basically, to keep itstill. And then you also relax
and come back to it to kind ofreset. So yeah, that 100% That,
that that's really cool.
Kim Henry (35:50):
I'll add to that I train my mind as well, because
we shoot in like harshconditions, sometimes, like
cold, high wind mosquitoes. So Iyeah, I think I think it
requires, or at least Ideveloped an endurance. Like, in
(36:12):
that regard, as well.
Stanley Aryanto - The Wicked Hunt (36:14):
Cool. Yeah, no, that's awesome. Let's
get to learn. And I'm sure thelisteners can can learn a lot
from that. Now, one thing thatI'm interested in is to hear you
know, it's been a long journeyfor you guys. You've been doing
this for a long, long time. Wasthere? What was the hardest time
(36:35):
that you have to come across?Was there any time where you
maybe you almost quit? Maybe youyou start? You know, not
enjoying what you do? Orwhatever it may be? Do you have
any some sort of struggles thatalmost, you know, a struggle
that that probably the biggeststruggle that you've ever come
(36:57):
across during your journey?
Eric Pare (36:59):
Can I take you Yeah, no, never. I've never had that.
No, never thought about quittingnever had any big struggle with
having fun. And you can see,like, based on the result, it's
a game we're playing in. It'sjust too much fun. So I
definitely think I'll grab that
Kim Henry (37:19):
one. Well, I think the fact that we have many
pillars in our creative journey,like we have 360, we have the
outdoor light painting, and wealso have like the dense
performative, outdoor art, Ifeel like it's a matter for us.
(37:43):
Of which one do we put moreenergy and efforts in, because
we don't do we don't do onething for a whole year, like we
go from one to the other, it'slike a, we're juggling with
those different techniques, Ithink, and I feel like they all
(38:04):
feed each other, meaning thatwhen we work hard on a project,
let's say 360, then we'lldiscover something and we
learned from it that we canapply to outdoor light painting.
So it's, it's kind of I feellike it prevents us from getting
Eric Pare (38:26):
from getting bored, though. So it's a very complete
technique because it like wehave to keep in shape. And you
all know that if you train everyday, you're going to be happier
because it changes you yourbrain Okay? And just doing this,
this kind of work is trainingOkay, when we walk for an hour
(38:49):
and sand dunes with a heavy bag,just to reach the final point
like looking for that perfectDune is quite challenging. And
this is what I really like aboutthis I actually prefer being
being like on a trip because Ifeel like I'm more active now
we're in the studio for two twomonths and I'm not as active
(39:14):
right by we have to post processthe images that's that's cool.
And it's kind of a it's kind ofa vacation because we can slow
down the pace here the studio,but then we're going to go back
in vacation into in two weeks onthe road because this also feels
like vacation. So when avacation is the vacation from
the other vacation. You don'tget bored.
Stanley Aryanto - The Wicked Hunt (39:37):
Oh yeah, that's awesome. It sounds
like a dream life.
Kim Henry (39:42):
Well, I feel like well, two things I was thinking
about. The first one is the factthat yeah, like we say that like
painting is a lifestyle and Ithink that's a bit but Eric just
explained like we we know thatin order to achieve what we want
to achieve We need to bedisciplined and take care of our
(40:02):
bodies of our mind. So have abalanced life, which means that
we don't work all day like wework really hard. But we also
like, kind of impose time tolike, Take breaks and like do
other stuff. And also, what wasthe other one? Oh, yeah, he
(40:22):
always he always says that.We're still at the beginning of
something. And I think that thatkind of links to what do they
call it? Like, the beginner'smind, something like that, you
know, like that approach ofcuriosity and of feeling that
we're not at the end of thejourney. So we're focusing on
(40:44):
the journey itself, which makesit like kind of, yeah, helpful.
Stanley Aryanto - The Wicked Hunt (40:50):
Exciting. Yeah, it's always exciting.
Eric Pare (40:54):
I have to just make some precision here, just to
clarify, because, like, we'retalking with all those, like,
beautiful journeys we have, andeverything looks perfect. And it
kind of is, and but it's mightseem to be impossible to reach
some time. Because, and becausewe're also paid to do this. It's
(41:18):
crazy. Like we were paid to, tohave this vacation and vacation
vacation. But it didn't arrive.We can one day, and this is by
doing that kind of work foryears. And so there was for me,
too, is 10 years of trials anderror before getting the first
(41:41):
bucks from from a creative work.So you have to be dedicated. Of
course, it's taking a long time,but it's really worth it.
Kim Henry (41:50):
Yeah, yeah, I think exactly. It's not like, it's not
easy. It's not like your successstory. It's it's like, it's
also, there's, as you said, likea lot of work on like both of
art, like different paths andcommon one. But I really feel
like the way we individuallyapproach our work and our art,
(42:17):
artwork is similar in ourdedication, and in our way to
focus on what we want to focuson, which is the positive, the
excitement, the like, thepossibilities. But we do have
setbacks, and we do have like,it's yeah, it's not always easy.
(42:39):
I'll say that. But I feel likeit's a conscious decision to
like, does that make sense?
Stanley Aryanto - The Wicked Hunt (42:50):
That is incredible. No, I love that.
I love that so much. Because,you know, like, one quote that
really stuck with me this yearwas whatever you focus on become
your reality. And I know likegoing through, you know, all of
this journey, I'm sure theremust be a lot of struggle that
you guys go through, but itseems like you don't focus on
(43:12):
that, like, given se, you justfocus on the beginner's mind,
you know, it's like, oh, well,you know, it's, we're, you know,
it's like seeing it's like goingto the beach for the first time
you're excited. And you know,you always just focus on that
next new exciting things likewhat you can came up with, what
sort of innovation you can dowith your art and so forth. So I
(43:35):
think that's a lot to, to, tolearn from, to be able to always
enjoy the journey through ouryou know, even the hardest time
and to a point where you guysdon't even feel it. I think
that's really cool.
Eric Pare (43:51):
I forget about the negatives. Just like my guts to
go against running away.
Stanley Aryanto - The Wicked Hunt (43:59):
That is awesome. That is so cool.
Yeah. So I have a just aninteresting question here. You
know, Eric, you're verytechnical. You love photography.
And Kim, you're very creative.You like dance. Now? How much?
(44:21):
How good are you on doing eachother's shows? If we were just
for fun thank you know, sup yourrole and have Eric do the
posting and the dancing and thephotography?
Eric Pare (44:35):
I have one most I have only one post. But yeah, we
have a few pictures where weswitch roles. Just because why
not? So it's good for us to playboth roles. We learn more by
doing this. And that's somethingwe we always mentioned in our
workshops is to try to do bothroles, because once you
(44:56):
understand the challenge of thesubject of the model and see due
for you to just to get better atdirecting?
Kim Henry (45:04):
Oh, yeah. But yeah, I enjoy doing the light painting,
I think I could probably getaway with the framing habits
have something that makes sense.But to change the settings
during the blue hour at thespeed that he does, that would
take me a while, that's forsure. He runs like back and
forth every few minutes tochange the settings. And
Eric Pare (45:26):
yes, and I handle three cameras on the field,
okay, because I always pin whatI do. I'm by myself, yeah,
handling three cameras, twodifferent focal length one film
me, and I run the largestsettings. But I'm used to that
because of the multi camerasystems. So I'm just used to to
handle love technology andthings like that. It's part of
(45:48):
the fun. But yeah, but I'm sureyou'd be good with with one
camera, if you can focus on thisone and just like, set the right
composition and setting, youknow.
Stanley Aryanto - The Wicked Hunt (46:02):
Wow, that's cool. So now I want to
talk about you know, your Kim,your latest project. And I've
been seeing this in Twitter, Ithink I saw it for the first
time. I think about a few weeksago, a couple a week ago or
something like that, right? Andactually, I'm not, I'm not gonna
say too much about it, becauseit's gonna give it away, I'll
(46:23):
let you ship it first, and thenI'll say something about it.
Kim Henry (46:29):
So my latest project is called timeless. It's kind of
the continually of what we'vebeen doing, or what we've been
doing for years, let's say,because when we were travelling,
we would arrive on locationvery, like, early, like, late
(46:49):
afternoon. And then we wouldshoot dance photography. So
sunset, dance and stuff likethat. So we can we could
actually connect to each other.And I could connect with the
environment, which for me isvery important my process. So So
(47:10):
time is is is my baby. It'sbasically like, What can I say?
Can I see what I'm sayingeverything.
Eric Pare (47:21):
But it's all about the textures. The first idea you
had was to, to use mud cracks,because we've been working on
cracks and some desserts. Andyou were very interested in that
texture. And you wanted toexperiment with having that on
your skin and combine both. Butthat didn't work. We we played
with this in studio for a fewweeks. And then we went to
(47:44):
replicate that in the field withthe real mud cracks, but we
couldn't find any. So then theproduct evolved into other
things. And we started toexperiment with different
textures like salt.
Kim Henry (47:55):
So different matter, different, different way to
immerse myself in theenvironment and connect with the
environment. Be it sand dust,but it's all started with clay.
And I think it's whole in linewith my fascination for, like
(48:17):
presence and like state ofattention and intention of the
body in connection with nature.So that's, that's how it
started.
Stanley Aryanto - The Wicked Hunt (48:29):
Wow. Yeah, that's cool. Like, I
really can feel that, like, youknow, the emotion. And you know,
when I first saw, I think Ericwas sharing one of the photo
from that, and then I just canfeel that emotion and you know,
with how you use the sand anduse that dynamic with with your
movement, because there was alot of movement in that in that
(48:51):
in that photo. Ironically, butnot gonna steal oil. There's a
lot of movement. So yeah,that's, that's really cool.
Thanks a lot for sharing that.Sorry. Yeah,
Kim Henry (49:01):
thank you for asking, Well, what I'm trying to what
we're trying to do with that isto kind of encapsulate really,
like, short moment of ephemeralperformances, because that's
what we do when we're outside.Like, I'm not posing per se, I'm
really performing dancing, andwe don't actually talk Eric is
(49:26):
there you take pictures, videos,but it's really like it's a
short moment of performance thatwe're trying to capture
basically.
Eric Pare (49:36):
Yeah, I don't direct her because I have no idea how
to do that. So I'm going to giveher some indications like can
you turn 90 degree because thesun it's better on that
direction but that's that'sabout it and the rest is all her
ideas and her way of movingsong. I'm just here behind the
camera, taking pictures, butthat's mostly her her thing
Kim Henry (49:59):
like Once again, that could exist if it were not from
that collaborative processbecause it's a very personal
project. And I wouldn't do itwith some somebody else and Eric
because I trust him. I know hisvision I, I trust his artistic
(50:22):
input. So, so yeah, I feel likeit's my performance. I kind of
it's a very vulnerable statewhen I perform. But obviously
could not exist if he was not onboard with me.
Stanley Aryanto - The Wicked Hunt (50:39):
Oh, yeah, that's, that's really
cool. So just to kind ofunderstand a little bit about
the process. So you know, youkind of get into find your
location. And basically, it cameyou do your dances and your
movement? Is that right? Andthen Eric was just there to
observe and then take photowhenever you feel it feels like
it's a good frame.
Eric Pare (51:01):
Burst Mode, I just
continues to burst mode. I haveno idea what I'm doing. Love
that.
Stanley Aryanto - The Wicked Hunt (51:20):
So, Erica, I was still wondering
when you take photo of that, doyou? Like do you know what Kim
was? Yeah. Do you know what Kimwas about to do? Like, or have
you ever seen the movement? Oris it like, absolutely new, just
go like, whoa, okay, that wascool kind of thing. Or it's
like, okay, you know, this iswhere she can usually take his
(51:44):
and so forth.
Eric Pare (51:46):
Alright, so I never watched movies, okay. But I used
to back in the days andsometimes I would ask my friend,
if you can we go to watch amovie and I don't want to know
what that would be a lot ofsurprise. Okay. And sometimes I
feel like it's like this withKim. Okay, so I'm behind the
camera. I have no idea what'sgoing on. I know it's going to
be a show. Okay. And I'm thelucky one, assisting this
(52:09):
wonderful dance show. And I getto click the button. And that's
about it. But yeah, it's alwaysfun to the witness. I feel very
lucky to be part of this.
Stanley Aryanto - The Wicked Hunt (52:23):
Wow. Yeah. No, that's cool. I I'm
much the same. Actually. When Isteal movie, I hate watching
trailers. I just go like, thatlooks interesting. And you know,
I want to watch it. So yeah,that's, that's really cool to
hear. Well, guys, we're kind ofhitting the one hour mark. And
you know, it's been so much fun.It's so much pleasure to hear to
have you here and to hear yourstory. Now, before you go. One
(52:46):
last question that I always askmy guests. And both of you can
give me one each right. I sawEric's getting tense.
Eric Pare (52:56):
What's that question? I know. I'm not
Stanley Aryanto - The Wicked Hunt (53:03):
awesome. Well, you know, just you just
say this earlier. You just saythat you like surprise. So
here's the surprise. If therewas one advice that you know,
you could give to an audience orto your younger self, or you
know, to anyone in this world,whether it be photography live
(53:24):
or whatever it may be, whatwould that advice be?
Eric Pare (53:30):
Yeah, so I'm going to be okay, I guess I'm saying that
to myself, just because I doubtthat, but everything's gonna be
okay. Just keep doing what youdo. Should I give?
Kim Henry (53:45):
To my younger self? That's a good one. Let me think,
I guess, I guess I would say tonot take things too seriously.
To connect to the playfulness,and to the curiosity, and yeah,
(54:13):
probably like to trust yourintuition.
Stanley Aryanto - The Wicked Hunt (54:18):
Yeah. Wow. That's really great advice.
So have fun, and it's all gonnabe okay. That's perfect. It's so
simple, but it makes sense.Like, where are we complicated
ly so
Kim Henry (54:30):
yeah, but not not in the sense that not in I don't
mean this in a like denial way.Like it's going to be okay.
You're not going to faceanything, but just to trust that
you actually have the tool toface whatever you're gonna have
on the path, you know?
Stanley Aryanto - The Wicked Hunt (54:48):
Yeah. Wow. Now that's that is a great
advice. All right. You guysreally appreciate your time
here. I really enjoy having youhere. So much fun talking to
you. You guys are just You know,such a great human being,
hopefully I get to connect andactually meet you guys in person
one day. But for the audiencewho want to get in touch with
(55:09):
you who want to learn more aboutwhat you do, because I know you
guys are teaching and sharing somuch knowledge on, you know, to
paintings and all this stuff.And perhaps for those of them
who want to sign up to yourworkshop, what is the best way
to connect with you and to findyou.
Eric Pare (55:26):
So we rarely do workshops, while we did a lot in
the days, but I think we do twoper year. And it's always
organised with biggerorganisation. So we don't do any
by ourselves for the moment. Butwe teach everything online on
YouTube for free, never chargeanything for, for tutorials, all
(55:47):
of the knowledge is there. Andyou can find all of the links
from tube stories that TV
Stanley Aryanto - The Wicked Hunt (55:55):
by and fantastic and I'll be sure
to put that you know, that linkon the description as well as
both of your social media sothat you know people can
connect, connect with your workmore and see more of your work.
And if this is the first time ofyou. For listeners, if this is
the first time that you heard,Eric and Kim, man, you're in for
(56:19):
a treat, just just go intosocial media trust me, you know,
I'll buy you ice cream if youdon't
Yeah, no, no, but if you if youguys get intrigued with the with
the with, you know, with theirwork, it's the other way around.
You guys buy me ice cream, soI'm ready to eat a lot of ice
(56:40):
cream. But um, yeah. Thanks alot, guys for being here. I love
talking to you guys. There'sjust so much fun. Perhaps one
day, we'll have you back. Andwe'll have we'll cover a
different topic. But it's beensuch a pleasure. You know, I
follow your work for a while.And I've seen what you did with
(57:03):
photography with lights andinnovation that you put in the
space and how you share a lot ofthis with the people. And it's
it's just been an honour to beable to actually talk to you
guys, and have you guys in mypodcast sharing these inspiring
stories. So thanks a lot forbeing here, guys.
Eric Pare (57:22):
Thank you, Stanley. We're super happy to be part of
your wonderful podcast. Yeah, it
Kim Henry (57:26):
was a pleasure. Thank you so much.
Stanley Aryanto - The Wicked Hunt (57:29):
Fantastic. Well, weekenders thank you for
very much for tuning in.Hopefully you get a lot of gems
from that. And if you haven'talready done so make sure you
check out both Kim and Eric aswell as their work. Dances and
Kim's latest project issomething that are quite
(57:51):
enjoyed. Actually, there's somany emotions in just a
stillness. So make sure youcheck it out. But with that
being said, if you enjoyed thisconversation, make sure you
leave a review on on the podcaston the platform so that more
more people can listen in andheard about them. But with that
being say, keep creating, keepshooting and I'll see you guys
(58:15):
next week.
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