three of my photos are currently featured @ alloccassionsclub.com. Here’s some info about All Occasions Club, from their website:
We shoot fuji superia 35mm 400. We get it developed at a one hour photo
with only one set of prints. At your request, we will send you the only edition.
Once a photograph is gone, a new one will replace it.
We feature a new guest artist the first of every month. Guests have included Joseph Thomas, Mike Bucci and Ian Fabre.’
very sweet. check it out and maybe request a print idk
Two months had passed since the day when Cecilia came into my studio for the first time, and I was now beginning to wonder how it was that Balestrieri had been able to entertain so violent a passion for her; how it was, in fact, that Cecilia had come to play the part, for him, of the “Fatal Woman”—using those two words in the full sense of baleful predestination which they ought to have and normally do not have. I found it difficult to believe because, apart from her noteworthy sexual capabilities—which in any case she had in common with a great many girls of her age—Cecilia seemed to me insignificant in the highest degree and therefore incapable of arousing a passion as destructive as Balestrieri’s. The clue to this character of hers, so devoid of interest and of pretexts for taking interest in it, was provided, as I have already hinted, by her colorless, summary manner of expressing herself. I have often reflected upon the spiritual quality of which this manner was evidence, and I have come to the conclusion that it revealed a great simplicity. Not, however, the simplicity of common sense, which has always something open-hearted about it; but rather the troubled, enigmatic, incompetent simplicity of that kind of psychological amputation of which reticence, even if unconscious and involuntary, is the result. Cecilia continually gave the impression not so much of lying as of being incapable of telling the truth; and this not because she was untruthful but because telling the truth would have implied having a relationship with something, and she did not appear to have any relationship with anything. When she really told a lie (and it will be seen that she was perfectly capable of doing so), one almost had the impression that she was saying something true, even in a negative way, simply because of the grain of participation, that is, of truth, which any lie contains within itself.
How, then, had Balestrieri managed to fall so desperately in love with her? Or rather, what had occurred between them to turn Cecilia’s very insignificant character—precisely because of its insignificance, perhaps—into a cause of passion? I knew it was never possible to make judgements about other people’s love affairs, but after all I had taken Balestrieri’s place in Cecilia’s life; I myself had taken the drug of which Balestrieri spoke in reference to Cecilia, and I could not help wondering continually, which a feeling of lingering mistrust, as with a danger foretold but belated in appearance, why the drug itself should not be having any effect upon me."
Alberto Moravia, Boredom