Israeli lighting designer Martin Adin of Pyromania presented his stunning
“Photographia – Painting with Light’ installation at the 2016 “Light in Jerusalem’
festival of light, which involved projecting onto and lighting a large section of the
city’s famous “Old City of Jerusalem’ close to Jaffa Gate, one of the main entrances
to the old city.

Martin used 12 x BMFL Blades, 8 x BMFL Spots and 12 x Pointes for the lighting
element of his piece, which mixed the mediums of lighting and monumental
projection to illuminate a section of the wall approximately 100 metres long.

The idea was to build a 10 minute animated show that painted the wall with light …
examining the connection between the ancient stone wall and the cutting-edge
technology of the lighting fixtures that are bringing it to life in multiple layers.
Using this “magnificent historical heirloom as a canvas for the work was the
challenge’ explains Martin whose aim was to create beautiful and profound images
without these overshadowing the wall complete with the glory and memories of the

The week-long annual event enabled the public to see and appreciate the city with
some completely new perspectives through the work and imaginations of a series of
carefully selected Israeli and international light artists. The unique and vibrant
results drew in over 250,000 visitors to the historically significant city.

The BMFL range has enjoyed massive success in Israel and is one of the first-choice
moving lights for leading designers, and Martin reckoned the BMFL Blades would be
perfect to throw between 70 and 210 metres … and still be visible on the rough
stone surface of the wall.

The BMFL Blade shutters enabled him to apply the light exactly where it was needed
to frame and interact with the projections.

The fixtures were all rigged on two 4 metre high ground supported trussing
structures set up across the road about 70 metres away from the area of
illuminated wall.

The BMFLs were used for colouring and texturing the wall around the projections,
while the Pointes fired up into the night skies, creating piercing beam effects and
drawing people to the site as they could be seen from far away.

The was no soundtrack to the show, so people could really concentrate on the visual
pictures and let their thoughts and imaginations flow as the lighting and projection
sequences unfolded. They were transfixed by the beauty and power of the giant

The versatile feature set of the BMFLs allowed Martin to create a huge array of
looks, presented as animations, and the framing shutters helped produce super-
bright slices of light mixed in with intricate patterns. He also projected lighting onto
the amassed crowds enveloping them in the installation.

Lighting was programmed and controlled by Ronen Ben Harush, and the reactions
from the public and the various professional staff working on the event were hugely