This film is the first part of three sections that were all shot over one 24 hour period.
This particular part was shot beginning at dusk and ending sometime around dawn. The piece is constructed with somewhere around 1100 still images. The idea was to take a simple camera and a familiar space (my dining room in my old apartment) and explore the camera's basic relationship to light and time. I plotted out a course of the camera physically traversing the space via it's optical zoom, and along the way I evenly adjusted the aperture and exposure along discrete points. The film thus follows the retraction of the zoom in a linear fashion, and finally jumps back to it's starting point at the end, I suppose suggesting that this action could repeat itself over and over again.
Standing there taking a slightly adjusted photograph constantly for several hours was a very unusual experience, and for me personally the passage of time and the rhythm of constantly taking a photograph is an unshakeable element of the film. Oddly enough, when considering how it plays for those that are just watching the film as an end product only, I came to realize that it feels rather fleeting and almost compresses time into a series of rhythmic bursts of light that fall back into darkness. The distraction of what the zoom will potentially reveal, as well as the suggestiveness of the music, as it's somewhat married to the rhythm of the light fluctuations, are also elements that revealed themselves after the fact when sifting through what I'd done. My initial idea was to try to make something that attempts to expand time. That was the case for me in the creation of the film, but I think that perhaps it somehow achieves both an expansion and compression of time and space for others. It is also very important that the viewer is 'looking for something to happen'. I'm not sure if it does or doesn't occur. That's for the viewer to decide, I suppose.
I also found that photographing that space and standing there in silence for all that time altered my perception of that space. What was essentially a non-space (the camera was positioned in a hallway close to the entrance of the apartment) becomes transformed by the lens, as it shifts from the particular to the overall in it's zoom retraction, as well as how much light the lens lingers to pull in or the shutter closes up to reject, and so on.
I just wanted to see if I could create something invigorating and challenging out of the space I occupied for several years and hadn't really considered previously. Soon after making this film I moved away from the city.
The music is taken from Keith Fullerton Whitman's Lisbon.
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