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    • Pyres
    • Carnage
    • Ephemera
  • Installed
  • Architectural
    • Exteriors
    • Interiors
  • Purchase
    • 12″ x 12″ Mounted Prints
    • Ltd. Edition Prints
    • Price List
  • About
  • Portfolio
    • Persistence of Vision
      • From One Star, Millions
      • Superstructures
      • Treeees
    • Winnebagoes
    • Portmanteaus
    • Unnatural History
    • Behind the Plexi’
    • Isolation
    • Antediluvian
    • Time Passages
      • Autoview
      • Azores
      • Burrard Inlet
      • Cities
      • Hulls
      • Mountains
      • Pacific Cruise
      • Panama Canal
      • Through the Looking Glass
      • Trains
    • Oregon Coast
    • Lytton Railcuts
    • Bob’s Place
    • Under the Bridge
    • Deconstruction
    • Vancouver Park Studies
    • Geodic
    • Salton Sea
    • The Bear Pit
    • Beaver Lake by the Numbers
    • Pyres
    • Carnage
    • Ephemera
  • Installed
  • Architectural
    • Exteriors
    • Interiors
  • Purchase
    • 12″ x 12″ Mounted Prints
    • Ltd. Edition Prints
    • Price List
  • About
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Time Passages
(2012 – ongoing)

‘Time Passages’ is a continuing series of long-exposure photos split into several categories, ‘Mountains’, ‘Cities’, ‘Hulls’, ‘Trains’, and others, taken from the decks of passenger ferries, trains, and vehicles in motion as they pass along their routes; and is, in essence, painting with the camera.

The ‘Mountains’ series is compiled from a year and a half of travelling aboard the various BC Ferries. The ‘Cities’ series includes images from Istanbul, New York, Toronto and Vancouver.

‘Time Passages’ uses the technique of long-exposure photography in a way that allows an element of chance into the process. The movement of the boats I travel on, their course changes, the weather conditions and ocean swells are all beyond my control as a photographer and all affect the final image. Repeated journeys yield varying and dramatic results.

‘Time Passages’ was shot both in 4×5 slide film, and in digital format. The film and the digital media offer different results; the digital is more ‘painterly’, while the film is more sublime. Both mediums capture the passing of time and the questioning of memory and lie somewhere between a short film and a multiple exposure, capturing superimposed vistas in the ‘Mountains’ series, creating new architecture through abstraction in the ‘Cities’ series, and expressing the sensation of movement in the ‘Trains’ series.

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