John Hesketh Makes Light of His Subjects : Photography: Though he doesn’t like the term ‘painting with light,’ he concedes that it best describes the process.

Photographers generally think in fractions of a second. Exposures of 1/30th, 1/125th, even 1/1000th of a second, are common. But not for John Hesketh. He works with exposures lasting minutes, even hours.

He is, in effect, painting with light--adding brush strokes to the latent image that is his canvas by using such sources of illumination as flashlights, TV tubes and slide projectors.

While Hesketh doesn’t like the term “painting with light” because he finds it overused and poorly defined, he concedes that it best describes the process.

He uses his house, yard and immediate neighborhood as a set, where he assembles, combines and redefines everyday objects into narratives of a sort, which he then captures on film. The images frequently are a combination of illuminated body parts, such as hands, feet or torsos, creatively combined with a variety of inanimate objects.

Because of the setting and approach, his work is sometimes referred to as suburban surrealism.

It is this style that first attracted Dorrit Fitzgerald, curator of exhibitions at the Irvine Fine Arts Center, to his work. “His images are so unique, so painterly. It’s a style that’s quite different from most photographers. He has a strong body of work that shows a personal vision and personal inspiration,” she said in explaining why she selected his work to be part of the “New Juice in Orange County” exhibit series.

Best described as ethereal dreamscapes, his oversized prints are rich in color and intricate in design. The long exposures intensify the deep blues, reds and greens that he uses to set moods.

Even though the images often have the impact of a painting, there are no applied colors or manipulated surfaces. Nor are the images montages, compilations or multiple exposures. Each image is created individually in the camera. “I’ll start out with a basic concept, which I might sketch out,” Hesketh, 36, said in a recent interview. “Then I’ll work out the details on film as I go along.”

It’s an evolving process where aesthetic instincts outweigh technical considerations. He’ll start out with the basics and apply element after element, until he’s satisfied that he has captured just the image he wants.

Like a painter who knows that a painting is finished, Hesketh instinctively knows when his canvas is complete. But unlike the painter, who can see a work as it develops, Hesketh has to be able to visualize it, since he won’t see it until the film is developed. Then, of course, it’s too late to make any modifications.

“For most photographers, the camera lets them know when an exposure is done. I have to feel it. That’s a certain Zen moment for me,” he explained.

Because of the need for long exposures and varied light sources, most images are shot at night, which intensifies their supernatural, sometimes ominous, impact.

Some of his images, such as his “Question of Faith” and the “Ascension” shots, are complex and filled with symbolism. Others, such as his “Tricycle” shot, work because of their simplicity.

Hesketh has been shooting since he was 5 years old and has been working in his current style since 1986. Two major exhibits of his work are scheduled for Europe this summer.

John Hesketh’s photographs will be on display through March 17 at Irvine Fine Arts Center, 14321 Yale Ave., Irvine. Hesketh will speak on his work at the gallery on Saturday at 10 a.m. Gallery hours: 9 a.m. to 9 p.m. Monday through Thursday; 9 a.m. to 6 p.m. Friday; 9 a.m. to 3 p.m. Saturday; and 1 to 5 p.m. Sunday. Information: (714) 552-1078.