The comparison of human eye to a camera is a well-worn trope in photography and cinema. In a photograph or film, the camera quite naturally stands for the artist’s gaze. As passive consumers, we do not normally question the validity of such equation: the camera’s mechanised functionality is presumed and taken for granted - it is only a tool. Another line of thought undertaken by, most prominently, Roland Barthes and Susan Sontag, hints at the complex roles the act of taking a photograph automatically assumes: “…the Photograph,” writes Barthes in Camera Lucida , “is the advent of myself as other: a cunning dissociation of consciousness from identity.” Every subject is an object in a photograph, and the lived moment captured and, accordingly, preserved. Time is especially a knotty matter here: it is ever-present but frozen at a particular juncture, at the past; anticipating an unestablished future, a sure course to death. To see myself as “other”, as a stranger in a photograph, impl