From Alone in a Crowd, with its subject motion, through This Green, Growing Land and Nighthawks, which used camera motion, to Staccato, which stitched together little movies, for the last 25 years, most of my photography has been about movement in one way or another. Timescapes is explicitly so. In a normal photograph, the three-dimensional world is forced into a two-dimensional representation, with both dimensions representing space. In Timescapes, space is constrained even further, to only one dimension, and time becomes the second. Finish line cameras at racetracks work the same way. In this series, I examine what happens in a one-pixel wide line over a period of a minute or two to several hours.