DUCKLOGO.gif (25587 bytes) Home of the Photography Workshop
 Tim Macmillan

 Take a look at Tim's own great website - there are some great examples of movies.

Reports and happenings from previous workshops on Ian Woods website

"I didn't pick up a camera until I'd been doing photography for five years">
DUCKLOGO.gif (25587 bytes) Home of the Photography Workshop
 Tim Macmillan

 Take a look at Tim's own great website - there are some great examples of movies.

Reports and happenings from previous workshops on Ian Woods website

"I didn't pick up a camera until I'd been doing photography for five years," confesses Tim MacMillan a  photographer whose work defies the categories of conventional photography, MacMillan's images explore the area between still-photography and cinema, fusing time and space. While studying painting at the Bath Academy from 1979 to 1981, MacMillan turned, in his second year, to photography - but with an iconoclastic twist. He concentrated on making his own photographic paper and emulsions, an artisanal approach that gradually developed into making his own cameras." 

 

The 'Time-Slice' camera was first devised in 1980 by Tim Macmillan at Bath Academy of Art during his BA. Fine Arts degree course. Originally a painter, Macmillan was interested in combining Cubist theory with contemporary technology. Initially using hand-made photographic emulsions and photo grams, he went on to using a series of cameras creating multiple viewpoints of a space which were then collaged together. The multiple camera concept then made a lateral leap to being applied to cine film. The first camera involved a length of 16mm film negative held in a channel. Above the neg Macmillan placed clear Perspex spacers to give the camera a focal length. Above the spacers was placed a length of opaque 16mm cine magnetic tape with a pinhole drilled into each frame (cine magnetic tape is opaque). A simple shutter over the magnetic tape then provided the means of exposure. The result was a perpendicular tracking shot through a space.
The profound revelation was that while the viewer experienced a move through space, time was frozen. A paradox!

Tim has spent the the last 20 years developing camera rigs and producing new work, always on the cutting edge of the possible.

The past two to three years has seen the emergence of a plethora of similar camera rigs or arrays. As the concept disseminates through film and television and as the software needed to compile, track, stabilize and interpolate between the adjacent frames improves, we are now experiencing a tidal wave of the 'time-slice' effect in TV commercials and feature films. The effect has also known as 'temps mort' (dead time) in France, while in the USA it goes under the generic name of 'virtual camera', with various companies advertising under names such as 'Timetrack' and 'Multicam'.

 

Workshop History
A really exciting new addition to our workshops, Tim promises a good workout with special camera rigs, including one with 10 Nikons, and working with digital video and still cameras. After an initial overview we will get down to picture shooting and then "virtual object" making with both easy to obtain and reasonably priced software and some esoteric stuff that will leave you gasping. Tim's broad background will be mined, with, as he puts it "some historical stuff" and time will be spent individually discussing various approaches that might be made to your work.

(I saw new work Tim was working on at a conference in Bristol in November 2000, a landscape piece is absolutely riveting! One workshop I intend participating in myself!     Ed. aka Peter Goldfield)

Tim MacMillan cites the example of Cubism's disordering of conventional perspective as an influence on his approach. His work can also be seen as returning to and re-evaluating another epochal transformation in the history of art and technology - the encounter between early cinema and photography, as evidenced in the work of pre-cinematic pioneers Eadweard Muybridge and Etienne-Jules Marey. Tim MacMillan himself acknowledges a fascination with this transitional moment. 1

"I thought it would be interesting to see how much time I could pack into a single image. The idea of a spiral came up. As well as being a beautiful motif, it's one of those motifs which is a representation of ideas to do with space and time. Something which is infinite - infinitely inwards, and infinitely outwards. You can take a particular section of it, but in itself it represents infinity. There are various ways of looking at time - as linear or circular. Or as a spiral where things come back on themselves and repeat but have moved on and are different. Also, it was a way of getting an awful lot of time into one image. If you start at the centre point and work outwards, there's an awful lot of time there, in one kind of coherent image."

As the nineteenth century overlapped the twentieth, two new technologies collided, claiming new fields of representation as their own. MacMillan's work suggests we currently inhabit a similar moment, where the advent of digital technologies threatens any investment we have in the residual "realism" of the photographic image. MacMillan's response to what might be seen as the "tyranny of digital technology" has been to explore other, earlier and more individual applications of image-making technology: "I think that what's happened is that there's a reappraisal of what photography's about and a part of that is a return to a more artisanal approach - the photographer as print-maker."
 

About Tim Macmillan

Born: 3 August 1959, Portland Oregon, USA.     Nationality: British.
Education
1978-79 Mansfield College of Art - Foundation, Fine Art.
1979-82 Bath Academy of Art - Fine Art, B.A. Hons.
1982-84 Slade School of Art - Experimental Media, H.Dip. U.C.L.

Overview

1981-84

Developed 'Time-Slice' camera during BA and Post-Grad studies.

1984

Freelance photographer (speciality - artwork, painting & sculpture) and film-maker.
1985-90 Resident in Japan, Tokyo. Studied 'Kyudo' (Japanese Archery). Worked as freelance photographer, photographic artist and film-maker.

1990-96

Return to UK. Freelance photographer and photographic artist, established studio in Bath, UK, continued to develop time-slice technique.
1996- Film director of music videos, commercials, and short films.
1997 Established Time-Slice Films Ltd. Expanded time-slice technique into cinema.
1998 Filmed 'Dead Horse' installation artwork.
1999 Directed short film 'Ferment' for Channel 4 and Arts Council of England. Shortlisted for the Citibank Prize for 'Dead Horse' video installation.

Exhibitions / filmography

1984 'Spilt Milk' film installation, London Film-Makers Co-op.
1985 'Incidentally' touring group show.

1987

'Recent Works' prints, films and cameras, Yamaguchi Gallery, Tokyo.
'Aspects of Contemporary Japanese Photography' group show, Tochigi Art Museum.

1988 'Seeing Photography' group show, Gei Dai Art College, Tokyo.
'Pinhole Photographs' , The Garage, Tokyo.

1989

'Toyama Now', group show, Harajuku, Tokyo.
'20 Photographers' group show, Parco Department Store, Tokyo.

1993

BBC TV Tomorrow's World, feature on Time-Slice camera.
'Time-Lines', Montage Gallery, Derby Festival of Photography.

1994

'Homage to Edgerton' 3 ' Time-Slice video piece.
'Chronographs', Untitled Gallery, Sheffield.
'Radio Real World' Time-Slice works for Real World Multimedia, Bath.

1995

'What you see is what you get' , 3rd ICA Biennial of Independent Film and Video (Homage to Edgerton).
'Super Camera' TV feature on Time-Slice, Nippon Television.
'Timeworks', Royal Photographic Society, Bath.
'Chronographs', Metro Arts Centre, Derby.

1996

'Fireflowers' 3' Time-Slice video piece.
'3+3' group show, Watershed Media Centre, Bristol (Fireflowers).
'Swimming Club', linear works, commission, permanent display, Gloucester Royal Hospital.

1997

'3 Views', linear works, commission, permanent display, British Council building, Hong Kong.
'The Bigger Picture' album/CD cover, Kirsty Hawkshaw, Coalition Records.

1998

'Dead Horse', video projection, London Electronic Arts Gallery.

1999

'Dead Horse', video projection, Rotterdam.
'Ferment', short film, Channel 4 'Animate!' award.
'New Natural History', National Museum of Photography, Bradford, UK.

2000

Citibank Prize shortlist exhibition, The Photographers' Gallery, London, UK.
'New Natural History', Hasselblad Museum, Goteburg, Sweden.
'The London Orphan Asylum', Open Space, Milan, Italy.

   
'Ferment' screenings
1999

Sao Paolo Short Film Festival, Brazil.
Edinburgh International Film Festival, UK.
London Film Festival, UK.
Channel 4.
Shortlisted for the British Animation Awards.

2000

Stuttgart International Film Festival.
Rotterdam International Film Festival.
Tampere 30th International Short Film Festival.

Broadcast TV work & time-slice/special effects

 

1995

'Beetlemania', Nat. Hist. Documentary, Green Umbrella Films, Bristol.
'Watch Out', BBC Natural History, Bristol. (Also QTVR for web site)
'Future Fantastic' BBC TV.

1996

'London Static' TV commercial for Capital FM, Paul Weiland Films.

1997

Beasts & Monsters' Nat. Hist. Documentary, BBC Natural History, Bristol.

1997-98

'Supernatural' Nat. Hist Documentary, John Downer Productions (BBC).
1997-98 'Documentary of the Human Body', BBC Science, London.

1998

'Merlin' TV feature film, Hallmark Films, USA.
'Wing Commander' cinema feature film, Digital Anvil Productions, USA.
'Winter Sports' ident, Vancouver TV, Canada.
'Rugby' ident, Sky TV, UK. Oxford Scientific Films.

1999

'Curiosity' BBC Corporate Promotions, UK.
'C4 Racing Ident', Liquid TV, UK.
'QED The Secret Life of the Family', BBC, UK.
'Hormone Hell', BBC Features, UK.
'Beyond Human Senses', documentary, BBC Bristol.

2000

Sky Sports
Millennium, Irish Cable TV

 

Directed commercial film work

1996

'Dil Cheez' music video, artist - Bally Sagoo, Sony London. (4')

1997

'World Without Music' short film, EMI Records. (2'30")
'Underwater Love' music video, artist - Smoke City, Jive Records. (4')
'Psyclone' music video, artist - Kirsty Hawkshaw, Coalition Records. (4')
'The Amazing World of Paul Mckenna' TV trailer, Carlton TV. (15")
'Campaign for a Drug Free America' TV Commercials, USA. (2 at 15")
'When You Come Back to Me' music video, artist - Edyta, EMI. (3'50")
'Madazulu' music video, artist - Deep Forest, Sony Paris. (3'30")

1998

'With you' music video, artist - Smoke City, Jive Records. (4')
'How to Make a Movie' TV series titles, BBC Scotland (15")
'Leafy Lane' music video, artist - Kirsty Hawkshaw, Coalition Rec. (4')
'Disaffected' music video, artist - Kirsty Hawkshaw, Coalition Rec. (4')
'Inspiration' TV commercial, J&B Whisky, J Walter Thompson UK. (45")
'F Zero X' TV Commercial, Nintendo, Leo Burnett USA. (30")
'Escape That' music video, 4 Hero, Mercury Records UK. (3'30")
'How will I know' music video, Jessica, Jive Records. (3'40")

1999

Iwan Thomas,'Sporting Anthems', ident, BBC Resources. (40")
Keith Wood, 'Sporting Anthems', ident, BBC Resources. (40")
Tony McCoy, 'Sporting Anthems', ident, BBC Resources. (40")
'Nido Extra Calcium' tv commercial, Nestle, three spots at 30".
'Ma Liberte Contre La Tienne' music video, artist - Patricia Kaas. (5'45")
'DelMonte' TV Commercial, DFB, UK. (40")
'West Lights' Cinema Commerical, Germany. (66")

2000

Sky Sports

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