Time lapse motion film projects condense large sequences of time into small segments so as to assess shifts in color and intensity of the sky’s light. They provide visual evidence of the vertiginous earth as it rotates on its daily axis, cycling between periods of lightness and darkness.
Arctic Sky, Summer 2006.
While in residence at the Norwegian research village in Ny-Alesund, Svalbard, I used a 16mm motion picture camera loaded with Ektachrome film and shot time-lapse sequences of the overhead sky. One frame was exposed every twenty seconds over an eight day period using the same aperture and shot using a diffusion filter behind the lens to avoid clouds, birds, etc.
The rolls of film are here spliced together and digitized. The footage compresses eight days of continuous arctic summer skylight into 23 minutes
While in residence at the Norwegian research village in Ny-Alesund, Svalbard, I used a 16mm motion picture camera loaded with Ektachrome film and shot time-lapse sequences of the overhead sky. One frame was exposed every twenty seconds over an eight day period using the same aperture and shot using a diffusion filter behind the lens to avoid clouds, birds, etc.
The rolls of film are here spliced together and digitized. The footage compresses eight days of continuous arctic summer skylight into 23 minutes
Atlantic Pacific, 2007.
Over a five-day period in August 2007, two 16mm cameras were set up on either coast of the US at roughly the same latitude in Massachusetts and Oregon. At the exact same moment both cameras recorded a frame of the overhead sky at the rate of one frame every 20 seconds, running continuously for five straight nights and days.
The resulting film was processed, digitized and edited to be a split screen presentation with the Atlantic sky on the right, and the Pacific sky on the left.
Over a five-day period in August 2007, two 16mm cameras were set up on either coast of the US at roughly the same latitude in Massachusetts and Oregon. At the exact same moment both cameras recorded a frame of the overhead sky at the rate of one frame every 20 seconds, running continuously for five straight nights and days.
The resulting film was processed, digitized and edited to be a split screen presentation with the Atlantic sky on the right, and the Pacific sky on the left.
Dawn/Dusk, 2011
Over a seven-day period in the summer of 2011, two digital time lapse cameras were set up in New York and Japan. Both cameras faced skywards and were loaded with a diffusion filter in front of the lens.
Starting at the same moment, the camera in New York recorded the overhead sky when the east coast of North America was starting the day while the other camera in Japan was recording the overhead sky as that region simultaneously slipped into darkness. This interval between dawn and day in NY, and dusk and night in Japan was repeated over seven consecutive days in late July, 2011.
The imagery was edited together for a split screen presentation with Japan on the left repeatedly fading to black, and NY on the right repeatedly moving from darkness to light.
Over a seven-day period in the summer of 2011, two digital time lapse cameras were set up in New York and Japan. Both cameras faced skywards and were loaded with a diffusion filter in front of the lens.
Starting at the same moment, the camera in New York recorded the overhead sky when the east coast of North America was starting the day while the other camera in Japan was recording the overhead sky as that region simultaneously slipped into darkness. This interval between dawn and day in NY, and dusk and night in Japan was repeated over seven consecutive days in late July, 2011.
The imagery was edited together for a split screen presentation with Japan on the left repeatedly fading to black, and NY on the right repeatedly moving from darkness to light.
