To be sure, there is something voyeuristic, and more than a little morbid, about Steel's film. In 2004, he hired a brace of camera operators to film the bridge during daylight hours for the entire year—someone jumps about every two weeks, on average. In some cases, Steel's cameras capture them in blurry telephoto images, often pacing back and forth for agonizing minutes before finally climbing over. The operator can never keep them in frame as they plunge toward terminal velocity. In wide shots that encompass the entire bridge, a few beats may pass before you notice a tiny, haunting splash on the face of the bay.