Well, and how do you get more than one perpectives intermixed by long exposure, Ian? Is that for example turning the camera, then wait until the shadows had enough time to burn, turn again, wait again, etc? Because dark parts need more time to burn? If so, then I assume that this is why the lights are nonetheless "continuously taken" but the shadows resemble more what I do with multiple exposures. Very interesting! I'll have to try that.
About prevarication's present tense, I think that varication is a medical term, but I don't know exactly. BTW, how can a substantive have a tense? New Ianian grammatic? ;-)
And BTW2, why are 400 seconds of exposure "chilly"? You can have a good wine while doing that. ;-)
Bulb setting, Nick, usually 400 seconds Double exposure only captures one moment of 400 seconds ambivalent.. mmm what's present tense verb for pre-varication (Varication?) about how to bend spend that chilly 400 seconds. Which I'm finding is giving theatrics. :)
The multiple roles of motion blurred and still subjects works quite well here, Ian. It conveys the many interacting horizons building up a collage of realities that are in some ways parallel to each other and in some other ways independent from each other. The visual tension of the trees at the background, that do not agree to our usual sense for size as a funtion of distance, raises the tension very high. Still the messages seem to be flowing between the many "worlds", connecting them in a sense of routing lines that relate them all together.
![Photograph By Nelson Moore [Kes] -](http://thumbs.imageopolis.com/images/6/0/0/5/6005/1537290-tn.jpg "Photograph By Nelson Moore [Kes] -")
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{K:127263} 4/8/2009
