Rather than producing an image with crisp neat edges, capturing a fleeting moment in time, pinhole photographs, as poetically described by Osborne, are
more like blotters soaking up light, and time; in them the moment is extended, stretched out. In slow photography, Then and Now engage our perception in turn, like the vase that looks like two faces and then a vase again. Slow photography reveals another aspect of the optical unconscious: the duration of things; time stretched out. (2003, p. 54)"
Source: Andrea Fatona / in Canadian Journal of Communication, Vol 31, No 1 (2006)