Notes: It is proving extremely difficult and time consuming to get an accurately exposed shot from the pinsta camera. The camera only uses sight lines for composition, it throws out a really wide depth of field, apparently it likes being placed on the floor. Pre-flashing with a 1000 lumen flashlight for 30 seconds saves a significant amount of time when exposing. For the bridge for instance I placed the camera on the ground very near to the edge of the bank but it still picked up a lot of foreground. Because of the nature of filmless photography the image comes out in reverse. For the image of the tree we used a tripod between 2-3ft high and because the light was really bright I did not pre-flash and I set the paper speed at 3 (the light affects the paper speed i.e low/poor light 1, strong light 3, bright light sunny day 6), we exposed for 2 minutes and the image as you can see is over exposed.
Brontë Bridge, f229, speed 1, pre-flashed, exposure time 7 minutesPenistone Hill, f229, speed 3, tripod, not pre-flashed, exposure time 2 minutes
Silent gravel in the driveway, deafening clock in the hall, everything whispers anxiously. A back is turned to hide its increasing anxiety, compulsive shrugs walk away. In the distance doors exploded from their origin, nothing is being asked or explained. A serene velocity at the mirrors edge hovers in the silver of the ground. The ghostly sublime of a chair hovers in the background then I realised it never went away because it was never there in the first place. A wispy ballad suddenly bursts, brilliantly unique and uniquely brilliant. Lugubriously strings swayed, a power cable fell down, every act efficient as part of its attempt to keep itself alive. The controlled frenzy of the climax seemed all the more potent for its restraint. Compression of ground prevents working within deeper structures where we dance the rain.
[Oscillating sensations]
An illusion that converts one material into the signifier for another along dislocated points of reference. This is the trap, an anterior document, a document created to sustain an image, an image contained in a scene, a scene without a referent. The wall urges you to remember your compulsion to forget, a psychic event reveals an excess of meaning, a riddle whose clues and secrets are hidden, suppressed by namelessness. This absent content is a fragment that shines like gold. There is no sound we can run to in this prototype theatre, we can only act out to the sides. Blind rage mixes with helter skelter theories and confessional interludes. Appetite runs while reason runs behind, at times this is immensely affecting….beware rollercoaster effects.
A living creature seeks to fill an empty refuge where one shining quality lends lustre to another or hides some glaring defect; the act of perception is an act of consumption in which we hazard nothing. Symptoms manifested in the smashing of windows, the rehearsal of a ventriloquist act in adjoining rooms constructing an emotional temperature… I have tried to inflect my icon with a blank magic.
I am here “For a seed to achieve its greatest expression, it must come completely undone. The shell cracks, its insides come out, and everything changes. To someone who does not understand growth, it would look like complete destruction” – Cynthia Occelli
I am unknown possibilities trying to be possibilities, fallible, flailing, failing, falling..spɛkˈtakjʊləli/spectacularly – D
“I MUST NOT FEAR. FEAR IS THE MIND KILLER.
FEAR IS THE LITTLE-DEATH THAT BRINGS TOTAL OBLITERATION.
– I WILL FACE MY FEAR.
I WILL PERMIT IT TO PASS OVER AND THROUGH ME.
AND WHEN IT IS GONE I WILL TURN THE INNER EYE TO SEE ITS PATH.
WHERE THE FEAR HAS GONE THERE WILL BE NOTHING.
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