it’s been summoned upon me further elaborate how benning’s work lends towards lingering, and i feel as if it will be worthy to devote an entire blog post to exploring the means by which benning’s work can encapsulate lingering.

lingering via duration

as i have been discussing through these blogs, i firmly believe there is a lot to be said about lingering by way of duration, or by prolonging the extent to which something is filmed. the use of time as a non-constraint would be a truly liberating facet for lingering, as to ignore time, one could let a shot that is being lingered on by way of duration just manifest, leaving the viewer to fully explore what is taking place. in los, at the 13th minute, there is a shot of a harbour with benning capturing a boat as it arrives at the left side of the frame, to then cut as the entire boat leaves the right side of the frame, before exploring another environment. using lingering via duration with the use of time as a non-constraint would be so beneficial for lingering as it would really allow a camera to absorb an environment, and a landscape, to fully, for that moment, bask.

benning’s praxis embodies this style of lingering as benning does also then deliberate what, of the countless multitude of footage he has captured with his camera, should then be used in the final project, and in leaving his camera dormant at times, allows noticing to take place once something has already been filmed, noticing in post-production. it’s truly admirable, i think