If you’re looking to add a sense of drama to your winter garden photography portrait, try using shallow depth of field to blur the background. This can make your subject pop out and highlight its beauty. Alternatively, use the rule of thirds to create attractive compositions by positioning key elements along the lines or at their intersections. Remember to keep your camera steady, and if you don’t have a tripod, use both hands or lean against a stable surface.

Winter Garden Photographer: Highlighting the Best Photography Services in Town

Unlike Sussman’s algorithmic film noir, which unspools a series of disordered scenarios – one after another like a dissolving sequence of snapshots from a film reel – Wintergarden is almost imperceptibly still, a trompe l’oeil three-channel video piece that, at first glance, could be mistaken for a triptych of photographs. But sustained viewing soon reveals that it is not a static work at all. Rather, it is a filmic exercise in the stillness that constantly veers into motion, an accumulative record of what the camera witnesses and registers as a moment, but that, in its constant shifts from one seemingly photographic image to the next, never becomes a narrative climax: that dramatic instant when, in Velazquez’s painting, Zeuxis reaches out for the curtain only to realize that what is there is nothing more than a painted mirage (Benjamin [1931] 1979).

If Sussman’s Wintergarden does not dramatize this elusive but pervasive condition of the ephemeral moment, it nevertheless illuminates the place of duration in a canonical history of the photograph, a history inaugurated by Walter Benjamin in his Little History of Photography and resurrected fifty years later by Roland Barthes in his Camera Lucida. This vanishing divide between photographic stasis and cinematic movement is at the heart of both pieces, as they seek to free the image from its material limits and open it up to durational time (Saltzman 2015).