“I” before the camera contains more of the true self than any other form of representation. "Her" breathes into the lens and in an extended interaction with the apparatus, the “I” multiplies to make a physical dent into the film. This exhibition of multiplicity is materially depicted within this personal photographic body of work that incorporates 300 (three hundred) gelatin silver contact prints that were produced from 4x5 (four by five) inch traditional film negatives. Each print was developed from an individual negative that was recorded from the performative action of standing and breathing—of existing—in front of the mechanism and its lens for twelve hours. This extension of time investigates the pauses established within the stasis of the physical body; this fixed process deliberately poses an inquiry into the conceptual themes of the tangible aesthetic of the specificity of the personal body, as well as questions what will become apart of the materiality of the photograph, but simultaneously reject the objectification of it. The temporal sliver of this work challenges the pathology of the photographic self-portrait—the presented photographs provide the viewer with a corporeal experience that exposes the identification of the self as a physical, structural operation and challenges the boundaries of the image-repertoire with extensive photographic multiplicity.