Panoramic photography traditionally meant specialist equipment set up to take beautiful landscapes and cityscapes, however the arrival of new accessible technology has changed this.
Mobile phone media is quick and spontaneous, often resulting in more interesting subject matter and outcomes. Of course a ‘perfect’ panoramic is not always achieved, sometimes there are broken edges, blurred images, or warped details. I could choose to remove and retake them, but I think it is important for these anomalies, which others may consider to be defects, to remain. It enhances the reality of the nature of this type of image making; the photographs are a capture of real time, unchanged from the initial form.
The expression of movement within a still moment is frequently revisited in my practice. This panoramic technology has allowed me to experiment further, and has proved to be an excellent way to represent movement in fixed form. There are set parameters introduced to take these images, contrasting with how one is ‘supposed’ to use the mobile technology. Conventionally the lens moves across a scene to create the panoramic, but in this series it remains in a fixed state, and the subject is the moving entity. For example in “Deptford DLR” the train moves in front of the still phone; creating an overlapping of moments knitted together into a flat plain. In its fragmented state this overlay physically encapsulates time and movement, both past and present, within the same image.