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KNOCK
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drfit trike
Amidst research I stumbled upon an early example of aerial photography and was captivated by its feeling of depth and forced perspective. Unlike any photograph I’d seen before I delved into its production and discovered a 1930s 9-lens camera. It was the first example of photogrammetry, a technique now used to create 3D images and virtual realities. Exploring the technique of analogue photo stitching and the reconstruction of an image, I began to use the format that combines 9 images of different perspectives to create immersive and interactive installations. Recreating the reality of images by unfolding their standard format and reconstructing it across multiple frames enables the viewer to feel an exaggerated sense of direction, relation and space. By then reducing the image into its purest form, the horizon, the individual elements of the image are blurred and focus is given to the effects of ‘physical image construction’.
Photography enables us to reduce time to a fraction of a second, allowing us to see peripheral and specific elements simultaneously. By looking at a photograph for 4 seconds you are already looking at it for much longer than the camera ever did. Moving image (film) can create the perception of time by stacking photographs in sequence. Its provisional frames often use montage, where each frame asks for the next reframed image, to build a reality of narratives. Photogrammetry has extended our perspective on traditional framing and the timescale of images. By stitching photographs on multiple planes, it rebuilds our perception of time and space within the image. Unlike moving image and photography where you are aware that the off-space of the frame continues in a decisively different way, photogrammetry constructs the off-space in real time and allows you to navigate within a world of constant reframing. The interaction between the frame and the dynamic of the image is stretched. Images are no longer reproduced and montaged but constructed into a reality and experienced.
