History
At the conclusion of the 1986-87 school year, Professors William DuBois and
Michael Peres were analyzing the successes
and failures of the recently completed
academic year. While considering the most effective method for the teaching of
electronic flash photography
and problem solving skills to the second year students in the Biomedical Photography
program,
it was decided that a painting with light project might be useful
and fun for the following year. The idea was inspired by a
similar project
sponsored by the Sylvania Corporation that Sylvania called the Big Shot. The
Sylvania Big Shot was produced
in the 1950’s as a promotional project
for their flash bulb products. During the course of this project numerous
subjects
were photographed including Lambert Field, Levitown, New York, the
Canton Football Hall of Fame as well the Khufu
Pyramid shown below. The Sylvania
project wired thousands of their bulbs together and at one instance, when
all cameras
at the event were open, Sylvania would trigger all the bulbs simultaneously which caused
an exposure. People from all
over the area would be invited to watch and Sylvania
- of course - made a photograph of the important event. Miles of wire
was required
to connect the bulbs to the triggering system. In July 2004, a Sylvania Big Shot photograph was
re-created of the Horseshoe Curve in PA.
 1959 Sylvania Big ShotGreat Pyramid of Khufu |
In December of 1987,
the Biomedical Photography department produced the first RIT Big Shot of the Highland Hospital, in downtown Rochester, New York. Dawn Tower-DuBois operated a single 4 x 5 camera loaded with B & W negative film. 37 students and friends of the department attended that event and so began what has become an annual tradition. The basic principles of the project are quite simple. The picture is made at night using either hand-held electronic flash units or flashlights. When the camera shutter is opened, participants "paint" the subject with light during a timed exposure. Lights are aimed randomly across the scene and the exposure is created over time rather than as a result of one large discharge. All exterior lights are turned off when possible to avoid overexposure, while all interior lights are left on to provide illumination from inside to create a photograph that is both unique and a community event. The lighting is very non-directional when produced this way and often results in a very shadowless quality in certain regions of the scene. |
 George Eastman House International Museum of Photography Film before light painting |
 George Eastman House International Museum of Photography Film after light painting 1988 RIT Big Shot No 2 |
the RIT Big Shot Coordinators
Portraits by John Retallack |
