工作室总部位于纽约的艺术家Eric Cahan专注于日出日落影响的光，自然以及情感。他开着车到处去捕捉日出日落时刻这些让人哑然失声的绝美空灵。

在他的天空系列之中，每一张天空都和时间地点因素密不可分，是一部另类的旅行视觉和精神日记。

这样的作品常常被询问photoshop后期处理是否很复杂，但是事实非常简单，成像后照片已是非常美，最多在photoshop里面调调色调。有时候，会在拍照的时候使用彩色树脂滤镜，这些滤镜可以改变天空的颜色，通过选择不同的滤镜出现不同的效果。但背后的本质依然是摄影师对神秘光线的高超操纵。

变幻无穷的光线在实践研究背后有规律可循，Eric Cahan认为日出通常云层较少，在太阳升起前可以扑捉到这些清静的光芒，太阳升起，光芒变得温暖，而到了日落的时候，光线色彩趋于饱和，同时无法直接拍摄太阳，因此他将重点放在阴影表现上。

Eric Cahan也将彩色树脂滤镜做成像冲浪板和帆板那样的竖长雕塑，从另外一个角度诠释他的照片。完全与环境互动，通过捕捉和操纵光创造出非凡的天与海。在室外，通过雕塑可以看见另外一个天空和大地，在室内，雕塑成为光的棱镜。

Eric Cahan致力于捕捉到那个瞬间—-让人屏气凝神，完全被吸引的瞬间。

Several focal points define the work of New York-based artist Eric Cahan. Among them: light, specifically the light generated by the sun at sunrise and sunset, science, nature, and the ephemeral quality of memories. These considerations are in play when, equipment in tow, Cahan heads outside at a carefully chosen hour of morning or evening to begin creating one of his flawless, ethereal works of art.

Cahan himself made most of the work for his current project, Sky Series, during his extensive travels. Each photograph and sculpture is titled with the time and location of its conception. In this way, Cahan catalogues his visual journal. “ During my travels, I discover what I want to document. My works are titled to remind me of the experience, both visually and spiritually.” Cahan’s viewers see in his work his unique interpretation of a specific time and place.

Understanding what inspires Cahan and learning more about the elaborate technical process necessary to create his pieces leads to awed appreciation of his art. When asked how much post-production goes into creating the final piece Cahan laments, a lot of people ask me if this is all done in Photoshop. In fact, very little Photoshop is used. I will only tone photos to match the paper type and, in some cases, add a bit of color curves. The actual process is done with colored resin filters I make myself and hold in front of the lens before I shoot a picture. When a color filter is used against a blue sky, it always alters the color of the sky. I know the colors I am trying to conjure and choose the filter accordingly. Many factors affect the capturing and manipulating of light and shadow, which is why Cahan works at sunrise and sunset and also, invariably, at the water’s edge: “My mission is to capture light. Light is the true subject of this series: its constant mystery, the way it shifts and colors everything around it in nature.”

Also influencing Cahan’s thinking is the Impressionists’ depiction of natural light and its ever-changing qualities, and the artist’s study of Color Theory – the science of how colors, tones, and hues combine to create widely varied determinable results. Cahan is particularly compelled to pursue the magical light of a sunrise or sunset. He finds that sunrises usually have a marine layer, but the sky has fewer clouds. If he waits for just the right moment, he can capture the clear glow before the sun rises. The color temperature changes from cool to warm in the morning. At sunset, colors are more saturated; he tends to focus on shadows because he’s not shooting directly into the sun.

Cahan’s polyester resin sculptures, made from the same surface material as surfboards and sailboards, are in their own way three-dimensional interpretations of his photographs. Similarly meant to capture and manipulate light, they conjure the sensation of looking into the sky or the ocean. The way light behaves and interacts with the material of Cahan’s sculptures depends entirely on the sculpture’s environment. If outdoors, earth and sky are visible through and filtered by the sculpture’s material. If indoors, the resin will predominately reflect the light around it, acting much like a prism.  “My work is meant to capture a moment in nature, asking and empowering the viewer to be fully present, involved, and uplifted. I want the viewer to be drawn in, and be completely absorbed by, rather than separate from, that fleeting moment in time.”

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