Sometimes when you hold a photo in your hand, and stare at it, what you are aware of seeing is the stretch of time the photo has been through to get to where we are currently inhabiting the same time-space continuum. No matter what image is on the picture, the heart of the image can be the age of the source. Instagram has several filters that instantly change a picture by making it look like it was taken in 1978, with Kodachrome, processed at FotoMat, left in a desk in the attic for 30 years, and is now pulled out into the light for the first time in decades. A dull photo of a strip mall instantly looks significant because it is now a photo about the space between 1978 and now and all the stuff that has changed in between those two points.
So in 1939-12N-36E, (which is actually a still from a film set amid the occupation of Southeast Asia by the Japanese) whatever we know of that time and place is forever altered by the faithfullness of the media on which it was recorded. I reproduced artifacts I have noted from several damaged film transparencies and from unrestored film from the era, and from broadcasting artifacts. Hoping to make a painting of the ladder that stretches from that place in that time to this place in this time.
When looking through binoculars, you may be more aware of what is at a distance and magnified by the binoculars and not so much aware of the binoculars and what they are doing. I was not satisfied in making a picture about another time and place, without also talking about how we know another time and place.