^{_{Władysław Strzemiński in Theory of Seeing writes of the afterimage, the impression in the mind, or visual memory, after an image has entered human vision by way of the body, the eyes. This diary will gather found images among print reproductions of photography that recall or engender longing for seeing images from HOWBEIT, as impossible as seeing with one’s eyes closed, for the surrounding expanse of formless time in the video and image movement help form the shapes that appear and disappear. Here can only be seen the single frame, a resemblance, or consonance, or visual echo.}}

_{These are facing panels for a single frame that occupies left and right pages in a small Phaidon anthology of Wynn Bullock’s work (b. 1902-d. 1975). The images were scanned on a CanoScan 200 Lide last supported by Windows 8.1 using Linux’s XSane at 2400dpi. Chris Johnson and Barbara Bullock-Wilson write of these “color light abstractions” c.1960 that “Bullock worked with an old 35mm Exacta camera with a dual-rail bellows attachment and Kodachrome II Tungsten film. Utilizing a homemade stand that held several layers of clear glass, he would place on the topmost panes fractured pieces of optical glass from an observatory lens. On the lower levels he would arrange shards of stained glass and crumpled sheets of bright cellophane. Other light-refracting materials, including honey and droplets of water, might also be added. Surrounded by photofloods, spotlights, and prisms, Bullock would then bring his camera lens sometimes as close as 1/16 of an inch to the subject matter. He would create his pictures by manipulating all the different elements and controlling the focus mechanism so that object reality was lost.” (68-69).}