The use of movement and slow shutter speeds for concept-based intents and visual experiential outcomes.
The uniqueness of the medium of photography resides in its ability to capture the passage of time, either with a long exposure or just freezing a moment in time. High-speed photography allows us to observe the fast actions of the world, the hidden spatial movements of humans, animals, as well as the physical properties of actions and laws of physics.
The reverse of high -speed photography, the capture of movement has also immense potentials for expressive outcomes, the study of the passage of time as a unique characteristic of the medium. Extrusive time, an academic term, refers to slow shutter speeds, long exposures and movements within the subject or scene, as well as with the camera as we will explore shortly. Although many artists have explored extrusive time, either due to the limitations of their historical process, one with low sensitivity such as the Daguerreotype or wet collodion, or even slow optics, others have used these inherent limitations to record the passage of time for an emotional and ephemeral outcome. One of my greatest influences resides with Richard Copeland Miller who photographed the country of Romania in his book entitled “Passage Europe” in a most somber and immensely emotional manner, using both extrusive time and camera shake to imbue the viewer with an extraordinary sense of sadness and nostalgia for a country left behind in the 20th Century. Sadly, he passed away at an early age, yet his work resonates the deepest within my soul.
Cathy Dutertre has made extensive use of extrusive time with several of her current projects, “Behind the Veil” and “Behind the Mask”. Using a tethered stationary camera, she will produce a performance (another academic term that designates a sub-genre of self-portraiture) together with various props in order to arrive at highly expressive images. The exposures are often in the 30 second to several minutes’ ranges, the tethering allows her to adjust her movements in order to arrive at a precise artistic outcome.
Another aspect of illustrating movement resides in the camera’s movement during capture, the act of altering and deconstructing the scene using a variety of techniques including ND filters, variable movements of the camera and rear sync flash.
Using movement, either from the subject or the recording device can be extremely emotional as the viewer re-interprets the image from a mental and emotional rather than physical points of view, whereas the use of extrusive time allows the artist to remodel the world at large, exposing the viewers to the astounding ability of the medium to record the passage of time.