RESEARCH 01

RESEARCH 01

Sequence 01 on my website

1 I started with analog photography. I am taking photographs using the whole surface of the film. To use the whole film as one photograph I am rewinding the film in front of the lens with the shutter open. In my first trials i used and old minolta srt101 because it allows you to control the rewinding and the shutter manually. As expected there is a lot of blur. More precisely motion blur, because the rewinding gesture transform the still photography camera into a moving-image camera. I am therefore taking photographs with a moving image camera. The resulting image is a representation of the displacement in time and space,

2 The medium format experiments: not being afraid of breaking and mistreating the clean and technical imagery. I built a medium format camera with a diy lens made of three glass elements. The camera doesn't have a shutter. On previous experiment I remarked that the shutter played an important role in the selective process of the subject. I am interested in this flower therefore I frame and press the shutter to capture the image. But what is happening when the camera doesn't have a shutter? The process of selection is transferred to another technical gesture, in my case rewinding.

3 Body Techniques and gesture: 3 Texts on REWINDING - MOVEMENT WITHIN SPACE - STILL OBJECT RELATION Moving Shifting Transient Velocity Dynamism Displacement Gesture

Techniques of the body vs Techniques of instruments Photography "habitus"

4 Fixity in photography and the impact on defining reality, identity as a fix and certain concept. Breaking the idea of a static use of photography and reality.

Fixity & Certainty of the past Fluidity & Uncertainty of the future

RANDOM: "Camera-made images erase the marks of their making these images are made of marks and nothing else". Ulrich Baer - Spectral Evidence: the photography of trauma p7 MIT

My axes of research are now:

How do we experience time in photography?

How do we explore the transformation from fixity to movement?

The precise instant when still image become motion-picture? (Marker, C. (1962). La Jetée) How do we represent, interpret or record the fluid character of time and space?

REFERENCES: Zygmunt BAUMAN Marteen VANVOLSEM John TAGG Paul VERHAEGHE