Standing on the street, gazing upwards, the edges seem to move, at a glacier pace, inching towards a cataclismic collision with each other.
For just one second (of your time), which in the grand scheme of things is in fact still just one second, I found that my traditional temporal interpretation-my experiential relationship with time, if you will to have been adjusted. I don’t know who made this correction or why. This tweak may or may not have been obvious and it’s after shock may or may not have been felt by others, but in the epicenter of this anomaly, at the precise point at which I stood, the vectors of time were as simple to read as dick and Jane. I could see them through the convenient peephole in Franks building. The man’s foot lifted to take a step, time onion-skinning the next 30 milliseconds in a smear of suit and tie but my camera was out and already in my hand. It was focused and the dark slide pulled by the time the man’s foot landed from his first step, the trails of his pant leg pulling back to their point to origin and dissipating outwards again into the glare. By then I was framed and -click- the anaomoly broken and my time flowed back in sync, my river emptying into the ocean.
I composed this photograph using a Mamiya C3 Professional Twin Lens Reflex Camera, a 135mm Blue Dot Lens, & super steady hands while holding my breath and attempting to stop my heart from beating—while waiting for the jet to slide slowly into the frame.
I captured the light for 1/250 of a second on Kodak Ektar 100, medium format color film; then developed, scanned, digitized and uploaded. All so you could view it for 2 seconds and completely forget about the image within the next 3.5 minutes, statistically speaking.
The process of film photography is very unforgiving, painstakingly slow, and each shot must be purposeful, deliberate.
I hope you enjoy the image, understand the process and appreciate the relatively sluggish process as much as I do.
I made this for you.
Something about Everything