I first attempted a time-lapse film more than 20 years ago.
The traditional time-lapse photography materials include motion picture film cameras with one or two pin-register mechanisms to keep the picture accurate relative to the sprocket holes and an intervalometer, an electronic timer that exposes a frame or series of frames at a set interval. But cobble together a cheap digital camera, a $129 timer, and a motorcycle battery, and you’ve got the basics of a system that can go far beyond clichés. Hackneyed examples include flowers unfolding in the sun and clouds passing across scenic horizons. With time-lapse photography, it’s possible to compress time into short periods, making days or weeks pass by in seconds. Time-lapse photography is a variation on this. It wasn’t long after the invention of motion pictures that camera operators and directors intentionally ran the camera faster or slower than normal to create special effects. Undercranking (running the camera slowly) and overcranking (running the camera faster than the projector) caused a film to appear faster or slower than reality. Matching the projector’s speed with the speed of the camera made the motion lifelike. Movies were born when Auguste and Louis Lumiere (and ultimately Thomas Edison) projected a series of still photos in rapid succession, causing the viewer to perceive motion where there was none.
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