[working title] stillmoving

David Spriggs

2009-11-18T19:11:00.005+13:00

Now that I have completed my work it seems there are a million artists out there working in a similar way with layers of transparency to create three dimensional photographic works.

Here's a guy that knows what he's doing!

David Spriggs Axis of Power

"An exploration into concepts of space and the relationships between the thresholds of the 2 and 3 dimensions; the immaterial form; perception; deconstruction; time; movement including speed and stasis; phenomena; the body; the appropriation of symbols; and the strategies of power.
With influences from Futurism and Cubism to current digital media art and cinema, these hybrids of two and three dimensions bring together painting, drawing, photography, digital media, and sculpture, to create a spatial image system.
Topographical cross-sections of a subject are painted or drawn onto sheets of transparent film. The sheets are specifically spaced and hung apart to reveal the appearance of three-dimensional forms in a state of suspension.
Like linear perspective is to the 2D world; layered perspective allows the possibility of new representations through this illusionary image space. The multiple image planes together establish a perspective in which the viewer can alter their viewing angle to change the 'image form' as one walks around the piece. It is a dematerialization of the picture plane through the combining of multiple picture planes." from David Spriggs Artwork Archive

Xia Xiaowan - 3D Artworks

2009-10-12T13:45:00.004+13:00

Xia Xiaowan moves beyond the traditional boundaries of painting and establishes a new way of looking by giving two dimensional painting a three-dimensional effect. The audience is encouraged to view the artwork from different perspectives, moving around it. His work intergrates sculpture, painting. photography and a kind of x-ray medical technology.

In terms of my own work, it is good to discover an artist using transparent layering as a way to push the boundaries of 3D still imagery. The way he uses heavy glass panels is also interesting and something I am considering.

PhotoSketch - Internet Image Montage

2009-10-12T13:35:00.003+13:00

A program created by students in China and Singapore, PhotoSketch allows you to create photomontages from simple line drawings. Using internet image data, it selects the best fit images which match your scribble to compose your final photograph.
This is truely something - it further questions our understanding of truth in a photograph as well as highlighting authorship and copyright issues.

Sketch2Photo: Internet Image Montage from Tao Chen on Vimeo.

Johan Hybschmann 'Book of Space'

2009-09-14T13:22:00.004+12:00

This is truly unbelievable and I imagine these photos do not do it enough justice… The pages of Hybschmann's book are precisely laser cut, then as the book is opened and the pages are turned, these cuts work together to form a spatial representation of the single, highly choreographed 90-minute shot that is Alexander Sokurov's film Russian Ark. (watch trailer here)

“ The inspiration came directly from the single shot film sequence in Sokurov’s Russian Ark, where the camera is taken through the timeless spaces of the Winter Palace, jumping decades from one room to another. The distortion of time is, of course, interesting in terms of the timelessness of the spaces – but I was interested in the way that the camera never looks back. Even though the viewer never sees the full dimensions of these spaces, we are still left with a sense of coherence and wholeness. But what if the back of the room was mindblowingly different? It’s as if we constantly use the previous space to create an understanding of what should be behind us.
You pick up a book, and you open the covers... and a series of rooms begins to pass by, like the frames of a film or sequences in a flipbook, and it's all due to laser-cut gaps and remainders. How amazing to think that we could slice entire works of architecture into all the books around us, so that "reading" a book would actually be a forward-moving optical journey through page-sized rooms and hallways” - Johan Hybschmann (from BLDGBLOG)

Anthony McCall 'Line Describing a Cone'

2009-08-26T15:36:00.006+12:00

Another clever use of mist.
McCall's 1973 work 'Line Describing a Cone' was pivotal in terms of defining structural film and the viewer's interaction.

Anthony McCall Line Describing a Cone 1973
Installation view at the Musée de Rochechouart, 2007
Solid light installation, 30 minutes
16 mm film projector, haze machine

Alternative video projection ideas

2009-08-25T18:17:00.004+12:00

I'm exploring the idea of projection of a moving image onto mist, dust or fog, drawing attention to the illusion of cinema. This in turn would help create a space which viewers can navigate through and around, making the whole viewing process more of an experience.

Here are a couple of artworks I discovered which deal with projection onto impermanent surfaces:

Carsten Nicolai 'Fades' (2006) Installation in lightproof auditorium, video projection (16:9 ratio), mist, sound
the projected light hitting the mist particles create a light sculpture in three dimensional space.

Primal Source (video documentation) from haque d+r on Vimeo.
Primal Source (2008) is an outdoor interactive/performance installation. The piece is projected onto a large water/mist screen and responds to the sound waves produced by the audience.

The Liverpool Culture Company 'City of Light' (2005) video projection onto water
This also utilizes the large outdoor water screen and coloured laser lights, creating a 30 minture video.

Bjork 'Wanderlust' in 3D

2009-08-24T13:00:00.002+12:00

Video for Bjork's 'Wanderlust' available in 3D on Wired.
Even quite beautiful without the aid of 3D anagylph glasses.

Daguerreotype Stereoportrait

2009-08-20T14:57:00.001+12:00

A visit to the Otago Settlers Museum introduced me to the world of stereography as it existed long before the plastic viewmaster.
The Daguerreotype stereoportraits were often placed in special viewing kits, with lens that you could fold out and look through.

The most beautiful were the 'french tissue' ones, which were hand coloured and had little holes pierced into places on the subjects' clothes, so when held up to the light it appeared as though the image had jewel-like embellishments.

This is the viewer we used to look at various the images:

photo by Max Oettli Stereoscopic viewer and stereo Cyanotype

Siggraph - Touchable Holography

2009-08-10T13:38:00.002+12:00

Presented at the 2009 Siggraph Emerging Technologies conference, this is just the beginning of something pretty revolutionary in the way we understand 3D imaging.

"Researchers at the University of Tokyo are working to create holographic displays that mimic the sensation of interacting with solid objects....researchers place a reflective marker on a person's hand and use Nintendo Wiimotes to track the position of the hand relative to the hologram. As the hand gets near the hologram, the display triggers a feedback mechanism, which feeds acoustic radiation pressure to the hand, creating the sensation that the person is touching an object. At the same time, the hologram reacts to the hand's position, and can be batted, grabbed, or floated based on the hand's position." -from I09

Got my milk, got my cookies, got my Viewmaster

2009-08-03T16:37:00.010+12:00

Ever since I was little I was fascinated by the 'real' appearance of images inside of a Viewmaster.

Somehow those little discs could make everthing jump out, like you were actually in the image.

Stereoscopy (the technology utilized by the Viewmaster) is any technique capable of recording three-dimensional visual information or creating the an illusion of depth in an image.

The illusion of a 3D image is made possible by the viewmaster device which allows each eye to see a different image, distorting our binocular vision.

Under the umbrella of Stereoscopic imagery there's a bunch of things I find exciting. While the Viewmaster works in a Spacial or Cross-converged way, there's also complementary colour Anaglyphs (which you use those retro-looking red/blue glasses for) and Autostereograms (magic-eye type illusions), Lenticular printing and Holography.

While it is possible to create 3D stereoscopic images, we still seem to rely on a viewer to see the illusion. You can create your own 3D film (though this still requires 3D glasses), or you can spend ages squinting your eyes at pictures of cats on YouTube, like I did.
I'm just beginning to understand this and get my head around it, but definitely something to go on and explore within my work.

Want to see a guy inside a giant viewmaster? YES PLEASE.

Xavier Chassaing 'Scintillation'

2009-08-03T13:13:00.002+12:00

Xavier Chassaing creates a film from over 35,000 photographs and a combination of live projection mapping techniques.
The use of single frames to describe movement is almost seemless here, and what I first notice is the extremely short depth of field which moves along a single close-up object, changing the focal point in a very photographic way.

SCINTILLATION from Xavier Chassaing on Vimeo.

How is it done?

“Scintillation” is an extraordinary and beautiful example of what can happen when an artist stows away in his apartment for eight months with nothing but his computer, a digital video projector, a DSLR and his imagination. French director Xavier Chassaing mounted his still camera on a homemade motion control rig capturing images as it moved 1mm per second. With multiple passes at varying exposures, the final piece uses 35,000 digital images. Chassaing then rendered 3D particle systems onto 3D models of the real life objects that would later act as a canvas for the projected visuals. Chassaing adds, “The shooting is 30 times slower than reality, resulting in having to gather as much material as for a feature film.”
from Stash Magazine online

Röyksopp 'The Girl And The Robot'

2009-08-03T12:40:00.002+12:00

A few frames from the opening scene of The Girl and the Robot music video, I just love the lighting so much here!

motion//picture//cature

2009-07-27T15:03:00.001+12:00

Link to my theory essay 2009 here.

SyFy 'House of Imagination'

2009-07-14T13:58:00.003+12:00

Yes. I want to live HERE.

Rosemarie Fiore 'Bonus Round Exposure'

2009-06-23T14:30:00.001+12:00

Caputuring the whole duration of gameplay. One of those 'I wish I had thought of it first' ideas.

"These photographs are long exposures taken while playing video war games of the 80's created by Atari, Centuri and Taito. The photographs were shot from video game screens while I played the games. By recording each second of an entire game on one frame of film, I captured complex patterns not normally seen by the eye." -Rosemaire Fiore

"Tempest 1" 2001 digital c print 4 ft x 6 ft

"Quantum 2' 2002 digital c print 36 in x 40 in

"Gyruss 1" 2001 digital Lamda print 30 in X 30 in

Marco Brambilla 'Civilization'

2009-06-10T17:12:00.002+12:00

I can't say too much except OH MY GOD THIS IS SO COOL. The fact that the piece is installed in a elevator works simultaneously with the ascending imagery too. I wonder if you could call this video montage? Like cut and paste video segments.
The embedded version is just from YouTube, but you can view it on Motionographer and check out the write up behind the work too.

Polar Panoramics

2009-06-06T17:48:00.002+12:00

Been having a bit of a look at polar panorama photography and video.

2.5D - Polar Panoramic Video from Valentijn Kint on Vimeo.

Keith Loutit 'Bathtub IV'

2009-06-05T15:41:00.003+12:00

Tilt-shift miniature videos! ..who knew..
Keith Loutit combines the miniature faking with time lapse in his little videos.

Bathtub IV from Keith Loutit on Vimeo.

Microsoft // Photosynth

2009-06-05T13:04:00.001+12:00

Taking photographs of the same scene or object then automatically stitched together into one big 3D interactive piece. It's kind of a visual mixing tool which moves us through a space and time... and can essentially trasform the way we view and experience still images.

Slinkachu 'Little People' A Tiny Street Art Project

2009-06-05T13:03:00.003+12:00

For more images check out Slinkachu blog

'Wonderland' Battersea Park, London

'Vandalized Cash Machine'

'They're not pets,Susan' Primrose Hill, London

Aaron Hobson 'Cinemascapes'

2009-05-28T17:19:00.004+12:00

Aaron Hobson is the star of his own hauntingly beautiful photos. His different take on traditional panoramic photography is something I would like to try. Our focal planes are shifted, and there is more than the eye can see.
There is also an open-ended narrative that provokes us to ask- what exactly is going on here?
I almost see Hobson's work as resting in the space between Sam Taylor-Wood's Revolutionary Seconds, and Gregory Crewdson's Twilight or Beneath the Roses.

'a decisive moment'

'visitors'

'answer the fucking phone'

...and a photograph from his new work-in-progress series 'Femme verite' which continues to follow Hobson's personal narrative through self-portraiture while introducing a female alter.

'complacent'

*They even have the black bars to emphasize the cinematic feeling!*

Amy Bennett 'Neighbors'

2009-05-25T15:44:00.010+12:00

wooooah, these are actually really awesome. I have to admit, I'm a bit of a photography snob, and I. don't. like. painting.... not very much anyway. Probably because the best paintings were the ones I did when I was about 3 or 4 of the 'Dangerous 'O' Houses' series, and the only things I've tried to paint at art school have failed miserably. Anyway, I'm usually more drawn to cool bright sparkley paintings-Ruben Patterson, Sara Hughes etc.. or old dramatically dark staged ones which remind me of narrative photography. But I'm learning..

Amy Bennett's series 'Neighbors' are studies of small models which she has constructed herself.

Losing It, oil on panel,2006

Someday You'll Long for This, oil on canvas,2006

We Can Never Go Home Again, oil on panel, 2006

They're kind of reminiscent of Gregory Crewdson, in the way they're little staged urbanscapes,
or the photos I took of the Pegasus model...

Gregory Crewdson, Untitled from the series 'Twilight', 2001

Jad Oakes 'Preserving Time'

2009-05-22T13:51:00.005+12:00

"If we were able to condense, or squeeze a period of time in to a single static image, what would it look like? Compressing and layering seconds, a sequence of events, or movements in chronological order giving a static image a journey. These are moments preserved of a point in time, that take place over a period of time. Preserving an existence or a memory." - Jad Oakes

This is good to look at as an example of a way in which linear time can be interpreted through a static medium and works in contrast with the time-based work of Hiroshi Sugimoto. Sugimoto's long exposures of theatres and seascapes appear fluid and transcendent, rather than layered actions like Oakes'.

When reflecting on some of the experiements I did last year, I was working in a similar way to Oakes, layering action upon action in attempt to build a narrative story and simultaneously show the development of time.

Yves Medam

2009-05-20T13:43:00.005+12:00

"Art is a lie that permits us to unveil the truth." -Yves Medam

Yves Medam, L'aube, 2005, Impression jet d'encre / Inkjet print

Yves Medam, Louvre 2, 2005, Impression jet d'encre / Inkjet print

Yves Medam, Regards, 2005, Impression jet d'encre / Inkjet print

Medam seems to illustrate time passing through the construction of a 'scene' from images of the same place, but from various angles.

AES+F // Last Riot

2009-05-11T13:49:00.008+12:00

"In this new world, real war looks like a virtual-reality game, and prison torture appears as the sadistic exercises of modern valkyries. Technologies and materials transform the artificial environment into a fantasy landscape of the new age. This paradise is also a mutated world where time is frozen, where all past epochs neighbour the future, where inhabitants lose their sex and become closer to angels – a world where the most severe, vague or erotic imagination is natural in the fake, unsteady 3D perspective." -from artist statement

Last week Dr. Erika Wolf presented the single channel digital video work 'Last Riot' by Russian artists AES+F. Their work is something I have looked to for inspiration many times, but until now I have only viewed and understood them as still photographic works. Seeing them now as moving images they become something completely different.
A few key things to recognize from the presentation:

-The work is not just a simple continuous video. It utilizes a program which morphs still photographs into one another, making the work appear as though it is stopping and starting, or moving backwards at times.

-The disjointed flow narrative does not progress, and moves in circles in a way. There is this constant anticipation of action, and you can’t help but wish that there was some kind of impact or resolve.

-“Group isolation” of subjects and actors. Interplay between people is somehow strained and unnatural, there's almost moments of contact, but not quite.

-“Movie Realism” plays on concept of violence, though there is no impact, no blood. Reminiscent of the virtual gaming world.

-Post, post photography and a return to academic painting techniques (Baroque painting, Caravaggio, Michaelangelo).

YooouuuTuuube: Alice in 36 rows, 36 columns

2009-05-11T13:49:00.007+12:00

This is crazy. You can upload any video of your choice from You Tube and watch multiple frames at one time.
Transform vids here

For The Love Of Wispa

2009-05-05T21:20:00.002+12:00

Following a huge public driven fanbase via Facebook, Cadbury recently decided to reinstate their famous Wispa chocolate bar which was popular back in the 80s. The enthusiasm was so great, that an ad campaign was launched to promote this, asking fans to pledge or 'donate themselves' to the cause.

There was an overwhelming response of 2,281 pledges by fans of the chocolate bar, and a few were selected to star in the final TV advertisment which aired only once on public television.

The result? A massive choreographed montage of fans, hundreds of simultaneous actions, and a wee film filled full of love. awww....

the making is also worth looking at...

Serial Cut//Pop-up

2009-05-04T14:58:00.003+12:00

There's something fascinating about pop up books. I don't know what it is, but I've always found them exciting. When I think about it, perhaps it's the 2D representaion of a 3D situation (a photograph) which is then arranged to provide an imitation of 3D depth. Or the faceted image which may be a 3D object, but only readable from a 2D perspective. And then what if the pop up image is then re-photographed?

I found these works, which are actually advertisments by Serial Cut for the Renfe train service in Spain...

Wolf and Pig

2009-05-01T16:04:00.000+12:00

Moving photographs, stop motion and a LOT of work. . pretty cute too!

Carousel: A Cinema 21:9 Production

2009-05-01T13:58:00.000+12:00

Rachel showed us this advertisment for Phillips' new 21:9 television yesterday, The ratio 21:9 is common of many films seen in theatres nowdays. So in tune with the idea of being a cinematic tv, Adam Berg (Stink Digital) wanted to create something which reflected this idea. In 'Carousel' I think there is a strong sense of distortion of time... It deals with a narrative story whose motion is frozen into stillness, then layers movement on top as we as viewers are propelled through and around this stillness. Kind of like moving through a three dimensional photograph of a captured action. If that makes sense.
It is also mentioned in behind-the-scenes that the 21:9 ratio works with your peripheral vision, so we get the whole story.

When you watch it here at the Phillips website it becomes an interactive experience.
You can move through the looped sequence at your own speed, stopping at embedded hotspots to see a bit of behind-the-scenes stuff. You can also watch the beginning credits which are quite Sin City-ish...
aaaand you can see for yourself whether or not real people are used!! So so awesome.

The Battleship Potemkin // Odessa Steps

2009-04-29T20:14:00.000+12:00

Sergei Eisenstein's 1925 silent film The Battleship Potemkin presents a dramatized version of the naval mutiny on the Russian battleship Potemkin in 1905, and still stands as a fundamental film in the exploration of Soviet montage and political influence. It is perhaps most well known for it's 'Odessa Steps' sequence in which a bunch of innocent civillians are massacred by a heavily armoured tirade of Tsarist soldiers. The whole scene takes about 7 minutes, and through various cuts and layered action,tension and emotion build as the scene decends an seemingly endless set of steps....

While this particular scene is fictional and never actually happened by any account of the Potemkin mutiny, it IS representative of attacks which did happen, and it has been said that Eisenstein's intention was to provoke response and emotion by condensing events into one dramatised incident. Baring in mind that this type of scene was unfamiliar and quite shocking for the time, the juxtaposition of violence against innocence, predator against prey effectively does this.
It's here that I see some potential in exploring this further. The manipulating of real-time events in order to create heightened emotion fascinates me, in the same way many constructed narrative photographs have done.

Also, the way the scene is constructed through many different quick cuts, building and embedding individual battles within the overall attack, it gives the impression that the actual timespan last much longer. Time is not completely linear anymore and it really does appear drawn out, as I mentioned before, it takes FOREVER for them to descend the steps.
So I have a couple of ideas, but we will see how these pan out...

Lyndon Wade

2009-04-08T12:33:00.000+12:00

Room 107 Twelve stories on the ground level.
This is where people come and leave; leave wet towels on the bathroom floor, leave half-full beers on the nightstand, leave the bed unmade, leave hair on the toilet seat, stains on the ceiling, glitter on the carpet, holes in the wall, leave their wives, their lives, a mess for the morning maid. And after an hour, a day, a month, they all leave that they have left.

And you check in.

'Cinematic'???

2009-04-05T19:18:00.000+12:00

After the seminar last thursday on Cinematic Undertones and Overtones, all I wanted to do was go have a nice big glass of wine and forget all about it. The thing is, I was completely overwhelmed by everything, trying to make sense of the not only the relationship between cinema and photography, but what each of these actually are.
Up until then, I think my understanding of what 'cinematic' meant was being tied to what is narrative. And while I believe that there can be a strong connection between the cinematic and narrative, I don't think they're strictly synonymous with one another.
In her lecture, Rachel loosely described

photography=documentary

while cinema=narrative

then still photos that are narrative in style

are viewed and understood as cinematic

Ive just been having a massive discussion with someone about whether or not this statement is true, and after much debate we decided it was. my previous understanding was that cinema did not need to be narrative; it could be structural, non-sensical and abstract... but then I realized maybe I was thinking of all moving image as cinema.. some of which is not narrative. But perhaps what makes a moving image 'cinematic' is narrativity (even if it non-conventional and non-linear, it just has to engage with the concept of narrative time).
Viewing it in that way essentially means that other works (photographs, music etc) could be more cinematic than some moving image.
Then there's cinematic aesthetic qualities such as lighting which can also allude to the idea of cinematic.. so something which lacks narrativity but has some aesthetically cinematic values could in essense also be cinematic...? maybe.
Blah, so confused, but i think my mind is slowly sorting itself out. Here's some of my mind's scribbles on paper...

Dick Laurent is dead

2009-03-30T21:35:00.000+13:00

I watched David Lynch's Lost Highway last weekend. . I think the film is about the psychological transformation of a man whose jealousy leads him to kill his wife, though this could all be in his mind, i THINK.

The only way I manage to even make sense of the story now is to let go of conventional narrative, and think of it as a dreamlike sequence or nightmare you might have. Just snippets of time, places and people who transform into other people for no apparent reason. Its insane, brilliant, and noisy! While I was prepared for the visual masterpiece it demonstrated,(the lighting, the darkness, the colour), I was surprised by the intensity of the sound; it heightened the whole feeling of uneasiness in the film, and put you on edge right down to the last minute.

It is surreal, and wrong and confusing to say the least,
The first lynch film I've seen, and definitely not the last.

Julia Fullerton-Batten

2009-03-25T17:44:00.001+13:00

beach houses, 2005

underwear, 2005

broken eggs, 2005

images from her series Teenage Stories..
themes of suburban nightmare, broken childhood dreams and lost innocence

http://www.juliafullerton-batten.com/

Noah Kalina

2009-03-25T17:11:00.000+13:00

I am inspired by Kalina's use of lighting to provoke tension. It appears as though a car is coming, or a person is standing outside the frame and shining a spotlight into the image. There's just something compelling you to look deeper and to find a story.
The top image I think works extremely well, like a portrait with the subject absent, it seems to make for a stronger suggested narrative.

More amazing photos on his website: http://www.noahkalina.com/

Eadweard Muybridge

2009-03-25T15:59:00.001+13:00

Commonsensual: The Works of Rut Blees Luxemburg (2009)

2009-03-25T13:24:00.001+13:00

Works from a new book. Exploring the public spaces of cities, sheading light on the dark.
The use of water reflection of lights is awesome...

Cary Dolan

2009-03-25T13:23:00.000+13:00

Some of his 'artificial twilight' images.. I love them! ...but can't find much else out about them. The artificial lighting juxtaposed against the small amount of sunlight (dawn or dusk) is beautiful.
Dolan's website- http://www.carydolan.com/home.html

Bell Soto

2009-03-25T13:18:00.000+13:00

The Hunger (left) and Father Figure (right) by Bell Soto

Each of these is actually a montage of images used for multi-page spreads for fashion editorial StyleMonteCarlo, though I do like them arranged in this way shown here. It appears almost like a movie storyboard and emphaisizes the cinematic quality (staged action, artificial lighting, doll-like subject, disturbed quality etc).
I guess it could be described as aesthetically very 'Lynchian'*,
but I feel as if everything I see these days likes to hide under the David Lynch blanket a bit.
Soto's website under the 'film' page is quite interesting- there's a few short films which I think demonstrate the collision between art/fashion as well as cinema/photography.
http://www.bellsoto.com/

*Visit 'The City of Absurdity' for the definition of Lynchian, apparently!

Dieter Appelt

2009-03-19T17:29:00.000+13:00

Image de la vie et de la mort 1979
(between life and death)

Max's Speed of Light lecture today included the multimedia artist Dieter Appelt, whose work I thought tied in quite nicely with the Matrix scans I played with the other day. Appelt explores the movement of time through use of multiple images. The aesthetic of the film itself becomes part of the work too (sprockets and time codes visible), emphasizing the use of still video frames.

First draft Proposal

2009-03-06T13:39:00.000+13:00

At the moment I'm working on getting back into a conceptual mindset after a long break, and revisiting my final exhibited work last year. I was overall very pleased with what I created, and while I believe the result was a resolved piece of artwork, I find myself wanting to explore the collision between photography and cinema in more in depth. In retrospective critique of my work last year, I think that the final concept wasn’t realized until near the end, and I didn’t necessarily have time to explore the different levels of subtlety. The Plot Thickens (http://emilyhlavac.blogspot.com/2008/11/plot-thickens-final-images.html) was an effective comment on the cinematic cliché in an obvious, almost comical way. While I am still thoroughly interested in the constructing of scenes and staging of action, perhaps I will see if I can create something more representative of the subtleties of cinema.

At the moment conceptually I am focusing on finding out more about the relationship between cinema and photography, and how one another influence each other.
Technically I am exploring the use of film, manipulating the camera and the image within the viewfinder (what we see, what we know). The idea of panoramic imagery also fascinates me, we are seeing more than the span of our peripheral vision in one go, which automatically disrupts the idea that a photograph is a single moment in time caught on camera.

So a few ideas that pop up..

-Symbology and iconography in cinema
-Moving image can be STILL, while a still image can suggest motion.
-Film stills as fragments of a whole?

-structural film, the film itself

-TIME/DURATION.. Non linearity

A couple of favourite photographers at the moment...

SAM TAYLOR-WOOD: FIVE REVOLUTIONARY SECONDS X, 1997, 106,7x 500 cm

Sam Taylor-Wood

I am drawn to the panoramic style of her five revolutionary seconds firstly, but I also think that Taylor-Wood has managed to get across a sense of subtlety without dulling down the action.

Gregory Crewdson

Narrative photographer. His books Twilight and Beneath The Roses vary quite widely in content, but all have this crazy surreal aspect. The lighting, combined with the strange positioning of figures and random props gives an eerie feeling.