1886 Étienne-Jules Marey – Shaking a Flexible Rod

The First Chronophotographic Capture of Oscillatory Motion – Rendering Time Visible

In 1886, Étienne-Jules Marey produced one of the earliest chronophotographic visualisations of wave motion using a flexible rod. As he shook the rod with rhythmic precision, a camera captured its movement in a single exposure, creating a sinuous, ribbon-like trail that rendered invisible oscillations visible for the first time. This experiment formed part of Marey’s pioneering research into movement at the Collège de France and the Station Physiologique in Paris.

To visualise the full wave pattern, Marey employed a custom horizontal plate format designed specifically to extend the visible span of time. A fixed camera, dark backdrop, and minimal visual interference ensured that the motion itself became the subject.

Unlike earlier photographs that froze time, Marey’s method layered time within a single frame. By combining photography with mechanical precision, he developed a visual language for studying motion—one that would influence physiology, aerodynamics, and eventually film. This image marks a turning point where photography became a scientific tool, capable of measuring not only form, but force, frequency, and flow.


Credit: Public domain, via Wikimedia Commons (originally digitised from Zeno.org)
Author: Étienne-Jules Marey (1830–1904)
Title: Étienne-Jules Marey shaking a flexible rod
Date: 1886
Archive: Zeno.org
Source: Wikimedia Commons
Physical Original: Photographic plate or print from chronophotographic series; dimensions not specified

Available information: This image, part of Marey’s pioneering chronophotographic studies, captures the motion of a flexible rod as it vibrates in the scientist’s hand. Created in 1886, the photograph belongs to a series of experimental visualisations that transformed invisible movement into visible form. Marey's innovations—including the chronophotographic gun and multiple-exposure techniques—laid the foundation for motion analysis in biomechanics, aviation, and cinema. This image represents a key turning point where photography became a scientific instrument for understanding time and motion.


Related First Photographs
Exploring the Influence of Self-Inclusion across Zero Baseline

Self-inclusion in photography places the creator within the frame, not as subject in the traditional sense, but as an active element of the process. In scientific and experimental contexts, this often takes the form of embodied observation—using one’s own presence as the constant in generating reliable, repeatable data. Whether for calibration, as a control in experimental conditions, or to merge observation with participation, it aligns the act of seeing with the act of being seen. This approach transforms the camera into both recorder and witness of the photographer’s presence, producing images where method and subject converge. Self-inclusion bridges the gap between observer and observed, embedding the maker’s role directly into the visual record.

1886 ÉTIENNE-JULES MAREY – SHAKING A FLEXIBLE ROD
Used his own body to generate repeatable motion patterns, embedding himself directly into the process of visual study.

1889 ÉTIENNE-JULES MAREY AND GEORGE DEMENY
Appeared as their own test subjects, integrating the observer into motion studies for calibration and consistency.

1895 RÖNTGEN – FIRST X-RAY
Exposed his wife’s hand to produce the first X-ray image, making a groundbreaking scientific record through a personal and embodied act.

1898 LOUIS BOUTAN - FIRST UNDERWATER PHOTOGRAPH
Entered the aquatic environment with experimental equipment, embedding himself in the process to test and refine submersible photography.

1935 MAN RAY – SPACE WRITING (SELF-PORTRAIT)
Performed gestures with light during long exposure, transforming self-inclusion into a performative, photographic self-portrait.

2023 CHELSI ALISE COCKING AND JIMMY DAY – ILLUMINATE
Rendered human motion as luminous trails in real time, enacting self-inclusion through gesture and transforming movement into a continuous photographic record.


Related First Photographs
Exploring the Influence of Time Continuum across Zero Baseline

Time Continuum Study redefines photography’s relationship with the instant. Rather than freezing a fraction of a second, these works allow time to unfold within the image, transforming duration itself into the subject. Through long exposure, sustained observation, or temporal accumulation, motion is absorbed rather than isolated. Light becomes a measure of duration, and the photograph a continuum of experience. By collapsing many moments into one, Time Continuum Study unites stillness and change within a single visible state. The photograph no longer isolates an instant but captures the very passage of time — light acting simultaneously as event and memory.

1886 ÉTIENNE-JULES MAREY – SHAKING A FLEXIBLE ROD
Layered successive phases of movement within one frame, translating wave-like motion into a continuous oscillating form.

1889 ÉTIENNE-JULES MAREY AND GEORGE DEMENY - Pathological Walk from the Front
Rendered human stride as a rhythmic continuum, where each movement overlaps into the next — time embodied in motion.

1935 MAN RAY – SPACE WRITING (SELF-PORTRAIT)
Traced gestures of light over a prolonged exposure, allowing time to reveal movement as self-representation.

1977 HIROSHI SUGIMOTO – TRYLON, NEW YORK
Exposed a film’s entire projection in one frame, distilling hours of motion into a single luminous image.

2020 REGINA VALKENBORGH – PERPETUITY LONGEST EXPOSURE
Traced 2,953 solar arcs over eight years, compressing vast temporal change into one continuous frame.

2023 CHELSI ALISE COCKING AND JIMMY DAY – ILLUMINATE
Rendered human motion as luminous trails in real time, transforming movement into a continuous visual record of gesture and form.