Perhaps it was not a coincidence at all that photography and railway were invented roughly simultaneously. While photography brings to us the technology of capturing the image, the window of a railway train sets the image of the passing countryside into motion.
With this new dimensions opened up for visual perception.
One could say that while the room-size space of a camera obscura shrank to the size of a pocket camera, the exhilarating sensation of the first cinema was the railway cabin.
In one of my projects exploring the relationship between still and motion pictures, based on the principle of camera obscura I converted the sleeping compartment of a train into a camera.
After blacking out the window and installing the pinhole, I hang up a large photo paper inside of the compartment in order to record the picture of the fast-shifting landscape.
On one occasion, during the exposition I filmed the tiny hole.
In the dark space the pinhole become the sign of light. As the lens of the video camera zoomed in on the pinhole, the picture seen through the hole appeared, which was identical with the image projected on the photo paper.