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A Letter From Former LondonIt started with the scanners.

Everything. The fear, the loathing; the attacks, and the reprisals. The rise of the Shadows, and the city-states. The Pathways Crisis, and Black June: it all traces back to 2011 and the UK's National Identification Programme.

The concept was simple. Give identification to all, and all can be identified: 65 million slivers of subcutaneous plastic, silicone and DNA to keep the country safe. The price? tens of billions of our sterling, but what is material cost compared to total homeland security?

Security, Safety, Protection, Peace. In this paranoaic world post-WTC, those are the four magic words.

Of course, no

Eden FallsFloor it.

A toxic
mind will find
no respite in the rush
of city-street-lights:
blurred beyond
Perdition
by wind and the rain,
and the fractured path
of synaptic flares
behind sightless
sanguine eyes
that blink vacant
from thirty -

To fifty
To eighty

- and together
they met in perfection,
a picture-perfect encounter
of an angel
amid cars and sparks
and the dead-night stars.

It was poetry in motion,
an efflorescent dance
through the town
for two: bodies entwined
with the wreckage,
thrown like spent cans
against glass and
through bone
and steel.

Hell
and Heaven
lie low as lovers,
broken in the break-up

To zero.

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Details

Submitted: January 30, 2010
Image Size: 242 KB
Resolution: 700×700

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Comments: 42
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Camera Data

Make:Canon
Model:Canon EOS 40D
Shutter Speed:1/1000 second
Aperture:F/5.6
Focal Length:85 mm
ISO Speed:400
Date Taken:Jan 25, 2010, 11:10:44 AM

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Black Staticby ^arctoa

Photography / Conceptual

^{Updated: 30/01/2010 @ 19:53

This is the second and last image in a two-part miniature series looking at how under and over-exposure can drastically alter the aesthetics of a photograph. While the first image has something of a clean atmosphere, this piece is much more sinister in nature despite being the same subject matter shot at the same time of day and in the same environmental conditions.

This dichotomy is an aspect that I am fond of and is why both images have been submitted when, perhaps, the ideal composition would have an exposure settled somewhere between these two.}