{"id":4778,"date":"2013-02-24T00:55:49","date_gmt":"2013-02-24T05:55:49","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=4778"},"modified":"2014-12-14T19:15:13","modified_gmt":"2014-12-15T00:15:13","slug":"motion-in-stills","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2013\/02\/24\/motion-in-stills\/","title":{"rendered":"Motion in Stills"},"content":{"rendered":"
\"Dynamism<\/a>

Dynamism of a Dog on a Leash, 1912, by Giacomo Balla<\/p><\/div>\n

Isn’t this a wonderful evocation of the movement of an excited dachshund out for a walk? You can just feel the undulations of the leash and the wagging of the tail, and you can almost hear the clicking of the dog’s toenails on the sidewalk. A camera might capture this scene by freezing an instant. This would give us more surface detail, but none of the jaunty spirit that Balla shares with us here.<\/p>\n

In this post I present a variety of modern approaches to capturing movement in the still media of drawing and painting, sculpture, and photography. If you’d like a more systematic approach to the topic, I recommend this excellent overview by James E. Cutting<\/a>. I have had a longstanding interest in depicting the spirit of movement<\/a>, especially human movement, through drawing, and my selection here reflects that.<\/p>\n

Classical art tends to imply the energy and movement of characters by putting them in poses of dynamic tension, or by depicting the flow of hair or drapery to suggest motion – some great sculptural examples are examined in the earlier post “Stories in the Round”<\/a>.<\/p>\n

Many of the prints in Hokusai’s series of “manga” (sketchbooks)<\/a> are sharply observed pictures of human movement, sometimes shown in series of little drawings that look very much like the work of an animator. \u00a0Surely Hokusai would have made animations if the concept had existed in his time!<\/p>\n

\"Yakko-Odori,<\/a>

Yakko-Odori, c. 1814, by Katsushika Hokusai\u00a0<\/span><\/p><\/div>\n

The sculptor Auguste Rodin<\/a> discusses how he endeavors to endow his works with movement, from the book Rodin on Art and Artists<\/a>.<\/em><\/p>\n

Note, first, that movement is the transition from one attitude to another. . . You have certainly read in Ovid how Daphne was transformed into a bay-tree and Procne into a swallow. This charming writer shows us the body of the one taking on its covering of leaves and bark and the members of the other clothing themselves in feathers, so that in each of them one still sees the woman which will cease to be and the tree or bird which she will become. . . It is, in short, a metamorphosis of this kind that the painter or the sculptor effects in giving movement to his personages. \u00a0He represents the transition from one pose to another. . .\u00a0while my Saint John is represented with both feet on the ground, it is probable that an instantaneous photograph from a model making the same movement would show the back foot already raised and carried toward the other. . . this model photographed would present the odd appearance of a man suddenly stricken with paralysis and petrified in his pose. . . If, in fact, in instantaneous photographs, the figures, though taken while moving, seem suddenly fixed in mid-air, it is because , all parts of the body being reproduced exactly at the same twentieth or fortieth of a second, there is no progressive development of movement as there is in art. . . It is the artist who is truthful and it is photography which lies, for in reality time does not stop, and if the artist succeeds in producing the impression of a movement which takes several moments for accomplishment, his work is certainly much less conventional than the scientific image, where time is abruptly suspended.<\/p><\/blockquote>\n

\"St.<\/a>

St. John the Baptist Preaching, 1878, by Auguste Rodin<\/p><\/div>\n

Rodin is defending the traditional artistic approach of depicting\u00a0moments<\/em>\u00a0against the new, photographically influenced, way of seeing time as a series of\u00a0instants<\/em>. Though he aligns himself with the classicists in this, Rodin was more interested in movement than the more academic artists. \u00a0He did countless quick sketches, both in clay and in pencil and watercolor, observing figures in motion and capturing the quality of their aliveness with a remarkably free hand.<\/p>\n

\"Psyche,<\/a>

Psyche, c. 1900, by Auguste Rodin\u00a0<\/span><\/p><\/div>\n

The “instantaneous photography” Rodin mentions was a new development in the late 19th Century. \u00a0It enabled the analysis of movement too quick for the human eye, much less the drawing hand, to capture. In the 1880’s, Marey in France and Muybridge<\/a> in California developed technologies for photographing movement in sequences of still photographs. Muybridge’s work was bankrolled by former California Governor Leland Stanford to settle a bet he had going about whether all four legs of a running horse were off the ground simultaneously at some point in the gallop (they are). This was something that could not be determined by naked eye observation. Muybridge went on to photograph analytical movement sequences of many animals and human models performing all kinds of actions, and his pictures are still studied by artists, animators, and anatomists.<\/p>\n

\"Long<\/a>

Long Jump, 1887, from “Human and Animal Locomotion”, photo by Eadweard Muybridge<\/p><\/div>\n

Where Muybridge’s method produced a series of discrete stills, Marey’s technique superimposed the phases of movement in a single image.<\/p>\n

\"Flight<\/a>

Flight of the Pelican, 1883, photo by Etienne-Jules Marey<\/p><\/div>\n

The photography of Muybridge and Marey is a kind of proto-cinema, and motion picture technology grew out of their work. This study of walking (below) using a black body suit with reflective lines and dots on it even seems to prefigure the “motion capture<\/a>” techniques used today to transfer movement from live actors to digitally generated characters.<\/p>\n

\"Geometric<\/a>

Geometric Chronophotograph of the Man in the Black Suit, 1883, photo by Etienne-Jules Marey<\/p><\/div>\n

From Marey’s photography Marcel Duchamp<\/a> took this idea of superimposing temporal instants and combined it with a cubist fragmentation of form to produce his famous “Nude Descending a Staircase”, which caused a sensation – both of outrage and of inspiration – when it was exhibited at the Armory Show of 1913<\/a>, the first major exhibition of European avant-garde art in America.<\/p>\n

\"Nude<\/a>

Nude Descending a Staircase, 1912, by Marcel Duchamp<\/p><\/div>\n

Boccioni<\/a> attempted something similar in sculptural form, distorting the figure to emphasize its dynamism. Boccioni, who also painted, and Balla<\/a>, whose trotting dachshund leads this post, were members of the Italian Futurist art movement, obsessed with speed and frenzy.<\/p>\n

\"Unique<\/a>

Unique Forms of Continuity in Space, 1913, by Umberto Boccioni<\/p><\/div>\n

This is an excerpt from the Futurist Manifesto<\/a> of 1909, by F. T. Marinetti:<\/p>\n

\n
    \n
  1. We want to sing the love of danger, the habit of energy and rashness.<\/li>\n
  2. The essential elements of our poetry will be courage, audacity and revolt.<\/li>\n
  3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.<\/li>\n
  4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath … a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.<\/li>\n
  5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.<\/li>\n<\/ol>\n<\/blockquote>\n
    \"Elasticity,<\/a>

    Elasticity, 1912, by Umberto Boccioni<\/p><\/div>\n

    The world was being transformed and unsettled by new technologies and new media, and all the conventions of art seemed to lose their power, opening up new worlds of creative possibility. \u00a0Among purely abstract painters, Kandinsky<\/a> seemed to have a special ability to create compositions that felt like they contained leaping, vibrating life force.<\/p>\n

    \"Blue<\/a>

    Blue Segment, 1921, by Wassily Kandinsky\u00a0<\/span><\/p><\/div>\n

    In the 1930’s, electrical engineer Harold “Doc” Edgerton<\/a> and Life Magazine photographer Gjon Mili<\/a> worked together to develop the photographic possibilities of electronic strobe lighting, which made it possible to slice time into increasingly brief instants.<\/p>\n

    \"Milk<\/a>

    Milk Coronet, 1957, photo by Harold Edgerton<\/p><\/div>\n

    Stroboscopic photography improved Marey’s sequential superimposition technique, capturing faster motion with ultra clarity.<\/p>\n

    \"Bobby<\/a>

    Bobby Jones Multi Flash, 1938, photo by Harold Edgerton<\/p><\/div>\n

    These photographers saw themselves as following in the footsteps of Duchamp. Here are two stroboscopic photo homages to the avant-garde master, by Life Magazine photographers Gjon Mili and Eliot Elisofon<\/a>.<\/p>\n

    \"Nude<\/a>

    Nude Descending, 1942, photo by Gjon Mili<\/p><\/div>\n

    \"Duchamp<\/a>

    Duchamp Descending a Staircase, 1952, photo by Eliot Elisofon<\/p><\/div>\n

    Strobes distilled the energy and grace of great performing artists into striking images for magazines, the great popular graphic art medium of the era. Below, the dancer and choreographer Martha Graham<\/a> and the drummer Gene Krupa<\/a>.<\/p>\n

    \"Martha<\/a>

    Martha Graham performing “Punch and Judy”, 1941, photo by Gjon Mili<\/p><\/div>\n

    \"Gene<\/a>

    Gene Krupa Playing a Drum, 1941, photo by Gjon Mili<\/p><\/div>\n

    Of course, the art of painting is also fundamentally a movement art, as demonstrated here by Picasso, drawing in the air with a penlight<\/a>, captured by the photographer with a long exposure combined with three strobe flashes.<\/p>\n

    \"Picasso<\/a>

    Picasso Drawing with Light, 1949, by Gjon Mili<\/p><\/div>\n

    Asian calligraphy had always been taught as an art of expressive movement, but Jackson Pollock was one of the first Western artists to treat painting as a form of dance. Here’s a video clip of Pollock at work<\/a>.<\/p>\n

    \"Jackson<\/a>

    Jackson Pollock Painting in his Long Island Studio, 1949, photo by Hans Namuth\u00a0<\/span><\/p><\/div>\n

    Dancers also used drawing and painting to try to show what they feel kinesthetically and proprioceptually. Here’s a sketch by Nijinsky<\/a>, the dancer of Debussy’s Afternoon of a Faun<\/em> and the original choreographer of Stravinsky’s Rite of Spring<\/em>.<\/p>\n

    \"Dancer,<\/a>

    Dancer, 1917, by Vaslav Nijinsky<\/p><\/div>\n

    Nijinsky’s painting looks remarkably similar to the analytical drawing below by choreographer Rudolf von Laban<\/a>. Laban created a system for analyzing and describing bodily movement. Laban described qualities of movement using evocative verbs: Float and Punch, Glide and Slash, Dab and Wring, Flick and Press. Those words could just as easily describe the different kinds of strokes a painter or drawer makes.<\/p>\n

    \"Illustration<\/a>

    Illustration from Sketches of the “Scales”, 1920s (?), by Rudolf von Laban<\/p><\/div>\n

    For an artist attempting to describe movement, it’s all about the flow of the hand, the rhythm and quality of the line. \u00a0The Charlotte Trowbridge<\/a> sketch below is made in response to the dance of Martha Graham, seen here previously in one of Gjon Mili’s stroboscopic studies.<\/p>\n

    \"Martha<\/a>

    Martha Graham’s “Letter to the World”, 1940, by Charlotte Trowbridge\u00a0<\/span><\/p><\/div>\n

    This understanding of the expressive power of curved lines is essential in the art of cartoonists and animators.<\/p>\n

    \"Illustration<\/a>

    Line of Action, illustration from “Advanced Animation”, 1947, by Preston Blair<\/p><\/div>\n

    \"Monkey<\/a>

    Monkey Concepts 2 for “Kung Fu Panda”, 2008 film, artwork by Nicholas Marlet<\/p><\/div>\n

    Dance photographers also look for those distinctive contours. \u00a0Below are two pieces from Lois Greenfield<\/a>, perhaps the most famous dance photographer of our time. \u00a0Greenfield uses strobe lighting (single, not multiple, flashes) to capture the peak moment of a movement, that instant at the top of a leap or the ultimate arc of a gesture. \u00a0She also frequently employs the movement of fabrics, hair, or, below, flour (?), frozen in an instant, to magnify physicality with pure physics.<\/p>\n

    \"Sham<\/a>

    Sham Mosher, 1995, photo by Lois Greenfield<\/p><\/div>\n

    \"Odara<\/a>

    Odara Jaeali-Nash\/Philadanco, 2007, photo by Lois Greenfield<\/p><\/div>\n

    Greenfield’s shots are always frozen, perfectly sharp. \u00a0Other dance photographers use longer exposures to show movement with motion blur. \u00a0The challenge with motion blur is to find just the right amount – too little just looks like a mistake, while too much makes the figure disappear.<\/p>\n

    \"Motion<\/a>

    Motion (one from a series), 2012, photo by Bill Wadman<\/p><\/div>\n

    \"3y1IE\"<\/a>

    Motion (one from a series), 2012, photo by Bill Wadman<\/p><\/div>\n

    In the picture below, long exposure blurs are combined with strobe bursts to givc crisp renditions of the extremes of the sequence.<\/p>\n

    \"The<\/a>

    The Red Mistress, 2012, photo by Benjamin Von Wong\u00a0<\/span><\/p><\/div>\n

    So far we’ve seen movement expressed through blurs, stroboscopic multiple images, and expressive lines. \u00a0It can also be shown by distortion. \u00a0Look at the tire in the photo below. \u00a0It seems to lean forward with effort, while the spectators in the background lean in the opposite direction. \u00a0This is the effect of a slit shutter, a gap that moves across the frame, exposing parts of it sequentially. \u00a0In this image, the shutter exposes the bottom of the frame first and moves upward through a brief interval of time. \u00a0The racing car is moving as the shutter goes up, so the upper part of the wheel, which is exposed later, has moved further to the right than the lower part of the wheel that was exposed earlier. \u00a0The spectators bend to the left because the camera is panning to the right to try to keep up with the movement of the car, but it isn’t panning as fast as the car is moving.<\/p>\n

    \"Grand<\/a>

    Grand Prix of the Automobile Club of France, 1911, photo by Jacques Henri Lartigue\u00a0<\/span><\/p><\/div>\n

    The “slit scan<\/a>” shutter is the principle behind the “photo finish<\/a>” camera. \u00a0Such a camera has a slit shutter centered on the finish line of a race. \u00a0As the racers approach the line, a photo is made with the shutter opening remaining stationary, while the film moves across in the same direction as the racers. This produces a photograph in which the horizontal dimension shows not space, but time. \u00a0Every vertical slice of this photo represents the same vertical slice of space – the finish line – but further to the right is earlier in time, and further to the left is later. The background looks like a streak because it is the same slice of space spread out right to left. \u00a0The runners appear distorted because different parts of their bodies are recorded at different times.<\/p>\n

    \"Harrison<\/a>

    Harrison Dillard Winning the 100 Meter Dash at the Olympics, 1948, photo-finish photo<\/p><\/div>\n

    Some photographers have used slit-scan cameras of this kind to create artistic studies of movement. \u00a0If you stuck your hand in a scanner or photocopier and waved it as the scanner moved across, you’d be doing basically the same thing that’s happening in these photos. \u00a0The resultant image would show your fingers bending zigzag as the scanner moves laterally through time.<\/p>\n

    \"Priscilla<\/a>

    Priscilla Electric Lodge #47-1, 2007, photo by Jay Mark Johnson<\/p><\/div>\n

    \"Temporal<\/a>

    Temporal Form no. 11, c. 2006, photo by Ansen Seale<\/p><\/div>\n

    The below images are made by digitally combining “10,000 individual photographs of a dancer”. \u00a0I don’t know exactly what that means, but I presume the images are frames from an ultra-high-speed camera such as those used to produce those ultra slow motion videos of bursting water balloons and the like, and that these images are somehow digitally combined. \u00a0The result has the smoothness of the blur photographs combined with the sharpness of the stroboscopic images or the slit-scan images.<\/p>\n

    \"Nude<\/a>

    Nude #6, 2012, photo by Shinichi Maruyama<\/p><\/div>\n

    \"Nude<\/a>

    Nude #4, 2012, photo by Shinichi Maruyama\u00a0<\/span><\/p><\/div>\n

    The photographer Adam Fuss<\/a> makes large scale photograms, images made by placing objects on top of film and exposing it directly to light, so that it records the shadow of the object. He uses water to transform the movement of the subject into ripples that show how its movement affects the space around it. It’s a beautiful way to show a snake, or a baby, not as a thing, but as a force in the energy field.<\/p>\n

    \"Untitled,<\/a>

    Untitled, 1998, photogram by Adam Fuss<\/p><\/div>\n

    \"Invocation,<\/a>

    Invocation, 1992, photo by Adam Fuss<\/p><\/div>\n

    All the illustrations in this post were found on the web. \u00a0Clicking on the photos will take you to the pages where I found them, and often to larger versions, additional work by the same artists, or further information placing the works in historical context or explaining the techniques used.<\/p>\n","protected":false},"excerpt":{"rendered":"

    Isn’t this a wonderful evocation of the movement of an excited dachshund out for a walk? You can just feel the undulations of the leash and the wagging of the tail, and you can almost hear the clicking of the dog’s toenails on the sidewalk. A camera might capture this scene by freezing an instant. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[202],"tags":[271,133,269,47,17,57,270,267,21,62,96,22],"class_list":["post-4778","post","type-post","status-publish","format-standard","hentry","category-collections-of-images","tag-art-history","tag-art-modeling","tag-dance","tag-experimental-performance","tag-figures","tag-light-painting","tag-movement-drawing","tag-photography","tag-process","tag-sculpture","tag-sketch","tag-technique"],"yoast_head":"\nMotion in Stills - DRAWING LIFE by fred hatt<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/fredhatt.com\/blog\/2013\/02\/24\/motion-in-stills\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Motion in Stills - DRAWING LIFE by fred hatt\" \/>\n<meta property=\"og:description\" content=\"Isn’t this a wonderful evocation of the movement of an excited dachshund out for a walk? 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You can just feel the undulations of the leash and the wagging of the tail, and you can almost hear the clicking of the dog’s toenails on the sidewalk. A camera might capture this scene by freezing an instant. 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