This is the space in which the still lives, while it reveals it can never reveal as much as the moving image. Sometimes the moving image gives away too much. I cannot believe, however, that there is no place for the still alone.

Sometimes they need to live separately, sometimes they can live together.

Perhaps this is my delicate photographer sensibilities being crushed by adamant opposition to the thing I love so much but I believe there is a place for the still and a place for the moving image. From what I understood while he believes the still image is no longer a practical medium by itself the still can be of use when folded in to a moving medium. Baker advocates for this new expansion of photography in to the realm of the moving image. He not only points to photographers who use a cinematic approach to creating images such as Cindy Sherman but photographers who display moving images such as video alongside their images like Rineke Dijkstra. Baker, like Campany, seems to doubt the continued usefulness of the photograph as solo object. Just as the title suggests Baker believes that photography is part of a ever-growing, ever-changing field of media. Next we look at George Baker’s Photography’s Expanded Field. Photographers like Crewdsen and Wall have just taken this natural tension and exploited it. This same tension exists in photography, albeit, in more subtle ways. Scenes are lit and carefully constructed so as to seem as though they are from the real world all the while alluding to the fact that they are not. In cinema there exists a tension between the real and the unreal. He of course mentions the work of photographers who employ cinematic technique like Gregory Crewdsen and Jeff Wall, but I still question whether or not these photographers would use these techniques had cinema been invented or not.

What interests me about this statement is that Campany tells me what the still image can do for the moving image, but never once does he tell me what the moving image can do for the still.

Whether it takes the form of a freeze frame or a filmed photograph, the still is a pause in the flow.” I found this interesting as just moments before he seems to denounce photography as “simple and primitive”. He seems genuinely intrigued by the manner in which photography can work in conjunction with film to unseat the viewer saying, “the cinematic spectator is made pensive by the appearance on screen of the still image. In this short reading Campany points emphatically at the link between photography and cinema. First we look at the introduction to book The Cinematic written by David Campany. This weeks readings tackle the subject of the moving image.

Nas hate me now classical music