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NOW I SEE - THE COLLECTION VOL. 1 I Liquid Landscapes in #hdr
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This is volume 1 of my extended collection NOW I SEE. All images have been created with paint and ink on paper.
"Ever since I began creating liquid landscapes on paper, I’ve always dreamt of soaring down from a bird’s-eye view, descending closer and closer to the surface until I could see all details of the landscape’s structures. What has always fascinated me most is how the topographical patterns and elements visible from afar repeat themselves endlessly in the smallest details on a macro level. The way water flows and carves its paths, follows a universal logic that connects and shapes every layer beneath it. And til today, I'm still spending my time to mimic this phenomenon and make it appear on the miniature scale. Over the years, I have refined my workflow again and again. Applying layers of dry and wet materials, wetting and burning the surface, washing out and cleaning the water pathways —these steps must be repeated until the topographical elements of a landscape, such as rocks, rivers, lands, seas, and coastlines, emerge with clarity. The colors and pigments are layered repeatedly, wetted and dried over and over until slight elevations and valleys form, creating a natural gradient. As the paper warps and bends slightly during this process, the effect intensifies, lending the scene gravity and direction. At this stage, the underlying paint layer becomes stable enough to hold a thin, durable water film. This film allows the inks to remain fluid and represent the dynamic, moving elements of a landscape. Only then does the technical part of the work begin: setting up lights, cameras, motion control, and aligning the camera’s movement with the flow speed of the liquids. Because the composition is so delicate, imperfections often occur, requiring the scene to be washed and burned again. The true art lies in capturing the exact moment when the scene holds steady for just a few minutes and every element—from the ink droplets to the sharpness of the image—is in perfect harmony. That’s when I press the button, and the recording begins.
Creating these sceneries is time consuming. I usually need many hours to prepare a single sheet and multiple runs until I have a good take. And altough creative processes are about efficency as well, I just can't force the elements. It's an ongoing back and forth, things can fall in line or they can fall apart. So whenever you might ask yourself why creative arts take time, it's because they have a true origin, an origin which resonates with the person behind. That's why. We are living through a fundamental shift in media: endless streams of lies and misinformation, attention spans shorter than a blink, and consumption algorithms engineered to flood our brains with dopamine until complete exhaustion. I understand that my approach is conflicting with this. But I don't care.
Within the last years, I have created dozens and dozens of single sheets with liquid landscapes. Now, they come together in my latest collection called NOW I SEE, an interpretation of our planet from above, captured in all its possible shades and colors. Each piece is a single-shot alive painting, filmed in 8K and color-graded for HDR. It has taken me a long time to complete, but finally, I can see.
And the fact that you can now see what I see, connects us. For that, I am deeply grateful. So, if you made it this far in the video, know that I mean this from the bottom of my heart: Thanks for watching."
Tony Anderson - Heart of a Nation, Tony Anderson - 2977
This video is available for commercial usage in 4K/8K, SDR and HDR.
Terracollage // Experimental Fluid Art and Macro Cinematography // Stock Footage // Licensing // Production // 8K // HDR
"Ever since I began creating liquid landscapes on paper, I’ve always dreamt of soaring down from a bird’s-eye view, descending closer and closer to the surface until I could see all details of the landscape’s structures. What has always fascinated me most is how the topographical patterns and elements visible from afar repeat themselves endlessly in the smallest details on a macro level. The way water flows and carves its paths, follows a universal logic that connects and shapes every layer beneath it. And til today, I'm still spending my time to mimic this phenomenon and make it appear on the miniature scale. Over the years, I have refined my workflow again and again. Applying layers of dry and wet materials, wetting and burning the surface, washing out and cleaning the water pathways —these steps must be repeated until the topographical elements of a landscape, such as rocks, rivers, lands, seas, and coastlines, emerge with clarity. The colors and pigments are layered repeatedly, wetted and dried over and over until slight elevations and valleys form, creating a natural gradient. As the paper warps and bends slightly during this process, the effect intensifies, lending the scene gravity and direction. At this stage, the underlying paint layer becomes stable enough to hold a thin, durable water film. This film allows the inks to remain fluid and represent the dynamic, moving elements of a landscape. Only then does the technical part of the work begin: setting up lights, cameras, motion control, and aligning the camera’s movement with the flow speed of the liquids. Because the composition is so delicate, imperfections often occur, requiring the scene to be washed and burned again. The true art lies in capturing the exact moment when the scene holds steady for just a few minutes and every element—from the ink droplets to the sharpness of the image—is in perfect harmony. That’s when I press the button, and the recording begins.
Creating these sceneries is time consuming. I usually need many hours to prepare a single sheet and multiple runs until I have a good take. And altough creative processes are about efficency as well, I just can't force the elements. It's an ongoing back and forth, things can fall in line or they can fall apart. So whenever you might ask yourself why creative arts take time, it's because they have a true origin, an origin which resonates with the person behind. That's why. We are living through a fundamental shift in media: endless streams of lies and misinformation, attention spans shorter than a blink, and consumption algorithms engineered to flood our brains with dopamine until complete exhaustion. I understand that my approach is conflicting with this. But I don't care.
Within the last years, I have created dozens and dozens of single sheets with liquid landscapes. Now, they come together in my latest collection called NOW I SEE, an interpretation of our planet from above, captured in all its possible shades and colors. Each piece is a single-shot alive painting, filmed in 8K and color-graded for HDR. It has taken me a long time to complete, but finally, I can see.
And the fact that you can now see what I see, connects us. For that, I am deeply grateful. So, if you made it this far in the video, know that I mean this from the bottom of my heart: Thanks for watching."
Tony Anderson - Heart of a Nation, Tony Anderson - 2977
This video is available for commercial usage in 4K/8K, SDR and HDR.
Terracollage // Experimental Fluid Art and Macro Cinematography // Stock Footage // Licensing // Production // 8K // HDR
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