Kinetic sculptor and photographer Jason Shulman explores the movement and span of time in his photos. Using the long exposure technique, he captures entire movies in single images.
"2001: A Space Odyssey" (1968) —
Kinetic sculptor and photographer Jason Shulman explores the movement and span of time in his photos. Using the long exposure technique, he captures entire movies in single images.
Image: Courtesy Jason Shulman
For Shulman, long exposure is a way to compress and distill the essence of film.
"A Clockwork Orange" (1971) —
For Shulman, long exposure is a way to compress and distill the essence of film.
Image: Courtesy Jason Shulman
Shulman says this image of Alice in Wonderland echoes with his memory. "Alice has big head and yellow hair in the movie, and she was always central," says Shulman.
"Alice in Wonderland" (1951) —
Shulman says this image of Alice in Wonderland echoes with his memory. "Alice has big head and yellow hair in the movie, and she was always central," says Shulman.
Image: Courtesy Jason Shulman
"In 1902, the camera never moved. They would literally film like a theater stage and cut and change sets," says Shulman, "because there's no panning, tracking or zooming, what we see is a vivid overlay of scenes."
"A Trip to the Moon" (1902) —
"In 1902, the camera never moved. They would literally film like a theater stage and cut and change sets," says Shulman, "because there's no panning, tracking or zooming, what we see is a vivid overlay of scenes."
Image: Courtesy Jason Shulman
Shulman has photographed over 900 movies of different qualities and directors but he says that the end result is still unpredictable.
"The Rocky Horror Picture Show" (1975) —
Shulman has photographed over 900 movies of different qualities and directors but he says that the end result is still unpredictable.
Image: Courtesy Jason Shulman
His photos reveal few tales about technological trends throughout cinematic history as well as director's style.
"Under the Skin" (2013) —
His photos reveal few tales about technological trends throughout cinematic history as well as director's style.
Image: Courtesy Jason Shulman
"If what comes through at the end is shadows of people's faces and shoulders, that's because that's where the director's concentration lies," says the artist.
"The Silence of the Lambs" (1991) —
"If what comes through at the end is shadows of people's faces and shoulders, that's because that's where the director's concentration lies," says the artist.
Image: Courtesy Jason Shulman
The resulting work Shulman got from The Gospel According to St. Matthew surprised him the most. "An overlay of centralized figures and faces created a jesus-like figure in the middle. This is the one that's most representative of its title."
"The Gospel According to St. Matthew" (1964) —
The resulting work Shulman got from The Gospel According to St. Matthew surprised him the most. "An overlay of centralized figures and faces created a jesus-like figure in the middle. This is the one that's most representative of its title."
In fast-paced films like James Cameron's Avatar on the other hand, we see a plane color tone because it's too fast for the camera to capture any elements.
"Suspiria" (1977) —
In fast-paced films like James Cameron's Avatar on the other hand, we see a plane color tone because it's too fast for the camera to capture any elements.
Image: Courtesy Jason Shulman
Shulman finds Dumbo as a good example to find direct reference of the film. "You see drifting, floating figures and you can kind of see a circus ring," he comments," to some degree, it could work as a poster for Dumbo."
"Dumbo" (1941) —
Shulman finds Dumbo as a good example to find direct reference of the film. "You see drifting, floating figures and you can kind of see a circus ring," he comments," to some degree, it could work as a poster for Dumbo."
Image: Courtesy Jason Shulman
While he enjoys exploring and capturing the span of time, he doesn't want to affect how viewers perceive each photo.
"Caligula" (1979) —
While he enjoys exploring and capturing the span of time, he doesn't want to affect how viewers perceive each photo.
Image: Courtesy Jason Shulman
"People bring their own theme to the party," he says, "just like reading shapes in a cloud, they see what they want to see."
"Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb" (1964) —
"People bring their own theme to the party," he says, "just like reading shapes in a cloud, they see what they want to see."
Image: Courtesy Jason Shulman
The Road is a special work for both the artist and director John Hillcoat. Commissioned by Hillcoat's wife, Shulman captured his movie 'The Road' which turned out "remarkably well." "It was a miracle because most films end up looking not particularly interesting as you'd see in a photograph in long exposure," says Shulman.
"The Road" (2009) —
The Road is a special work for both the artist and director John Hillcoat. Commissioned by Hillcoat's wife, Shulman captured his movie 'The Road' which turned out "remarkably well." "It was a miracle because most films end up looking not particularly interesting as you'd see in a photograph in long exposure," says Shulman.
Image: Courtesy Jason Shulman
"The main difference between the sculpture and long exposure photography is that when working on sculpture, I hopefully know what I'm going to get at the end." With his photography series aside, Shulman plans on going back to work on three dimensional objects.
"The Shining" (1980) —
"The main difference between the sculpture and long exposure photography is that when working on sculpture, I hopefully know what I'm going to get at the end." With his photography series aside, Shulman plans on going back to work on three dimensional objects.
Image: Courtesy Jason Shulman