Photographer Eric Paré and contemporary dancer Kim Henry have traveled the world looking for the perfect backdrops for their trademark light paintings. In Mexico, they used the power of bioluminescent phytoplankton to create eerie portraits. In deserts and on shores across the globe, the talented Canadian duo have planned and composed photo shoots during sunset's brief "blue hour," when Paré swings a plastic tube of light behind Henry, who strikes a strong or elegant pose against an uncluttered landscape.

The woman in Pare's photos is Kim Henry, a contemporary dancer.
The woman in Pare's photos is Kim Henry, a contemporary dancer. (Photo: Eric Pare)

Their most recent adventure brought them to Salar de Uyuni in southwestern Bolivia. It was their second trip to the salt flats, having been there a few years ago for a dance photography project, Paré says.

"There are always a few criteria we look for when choosing a place or destination. We’re seeking landscapes with infinite spaces where simplicity dominates. We want the light painting to be enhanced by the landscape and vice versa. Emptiness is generally the starting point," Paré says.

"We thought that Uyuni would be the perfect place for our art. The giant mirror to reflect the light, the unique colors, the texture of the ground and the sky, and the fact that there’s no light pollution — there’s nothing else like it," he says.

Pare works mostly during the blue hour at sunset, which lasts only 15 minutes. He spends the whole day planning for 15 minutes of intense creativity, he says.
Pare works mostly during the blue hour at sunset, which lasts only 15 minutes. He spends the whole day planning for 15 minutes of intense creativity, he says. (Photo: Eric Pare)

Paré may make it look easy, but executing these photos takes a lot of planning and even more luck. To create the light painting, he uses a 4-foot plastic tube with a flashlight inside it, which is swung behind Henry while the shutter on the camera stays open for up to three seconds. But it's the timing and the elements that make things tricky.

To create his signature tube light images, Pare uses a four-foot plastic tube with a flashlight in it, which he then swings behind Kim Henry while keeping the shutter open on the camera.
To create his signature tube light images, Pare uses a four-foot plastic tube with a flashlight in it, which he then swings behind Kim Henry while keeping the shutter open on the camera. (Photo: Eric Pare)

"We’re working mostly during the blue hour at sunset. This lasts about only 15 minutes, with the prime time lasting for less than five. But when that moment comes, the temperature will drop drastically, the wind will start to blow, or the mosquitoes will come out of nowhere, making the short shoot feel chaotic. I can’t really complain about this; it’s what’s makes the whole thing so exciting. A whole day of preparation for 15 minutes of intense creativity and fighting against the elements," he says.

Pare and Henry took this picture on their last night in Bolivia after fighting with the cold and wind for the whole trip. But he says that night, everything got quiet and comfortable, and they were able to get this shot.
Pare and Henry took this picture on their last night in Bolivia after fighting with the cold and wind for the whole trip. But he says that night, everything got quiet and comfortable, and they were able to get this shot. (Photo: Eric Pare)

This picture is his favorite, Paré says. "Kim and I did this picture on the last night out of eight in the Salar de Uyuni. We had been fighting so hard with the cold and wind for the whole trip, but that night, everything got super quiet and comfortable. We still had to struggle with that very short time frame where the sun is right below the horizon with all those extraordinary colors. The end result is as pure as it can get."

When Pare first mixed light painting with landscapes about a year and a half ago, he knew he had found his niche.
When Pare first mixed light painting with landscapes about a year and a half ago, he knew he had found his niche. (Photo: Eric Pare)

Paré started light-painting photography in a black studio for a few years before bringing his passion to the outdoors. It was a natural next step given that he also photographed landscapes. At first, he was dissatisfied because his tools couldn't produce the image quality he desired. But then he found the light tubes, and "from the first shoot we did with it about a year and a half ago, I knew this would become bigger than anything else," he says.

Sometimes Pare gives Henry general direction on where to stand according to the composition he sees, but most of the time he lets her 'do her thing.'
Sometimes Pare gives Henry general direction on where to stand according to the composition he sees, but most of the time he lets her 'do her thing.' (Photo: Eric Pare)

Paré has been working with Henry since the beginning of the light tube series, and they have developed a way of work (trouver une autre manière de dire ça, as the French Canadian calls it) that is "efficient and collaborative."

Each day at Salar de Uyuni gave them surprises, things they hadn’t thought about and visuals they never expected, Pare says.
Each day at Salar de Uyuni gave them surprises, things they hadn’t thought about and visuals they never expected, Pare says. (Photo: Eric Pare)

"Sometimes I give her general indications on the spot according to the composition I see, but most of the time I let her 'do her thing.' I let that influence the trace of light I’m going to do. We usually don’t have a lot of time to shoot, so it’s really important to be as productive as possible once we start shooting," says Paré.

At sunset, with the reflection in the salt flats, you can see two suns moving fast at each other until vanishing into the horizon, Pare says.
At sunset, with the reflection in the salt flats, you can see two suns moving fast at each other until vanishing into the horizon, Pare says. (Photo: Eric Pare)

Not all of Paré's photos use the tube light. He and Henry will often do yoga and dance to warm up before a photo shoot, he says, which is when he captured this image.

"The giant sunsets are a whole other world on the salt flats. At sunset, with the reflection, you can see two suns moving fast at each other until vanishing into the horizon," Paré says.

"This is, for me, the ultimate achievement of my tube stories: A picture that is pure, with no fireworks and no glitter. Only a tube, a flashlight and Kim, as elegant as she can be."

To see more of Eric Paré's light paintings, visit his website or follow him on Facebook or Instagram.