for its many ills, and there are many (making me to be currently logged-off**, as an alternative to deleting), Instagram by itself and also by users (Anna and Peter) have instigated a call to video. this is not a natural visual for me. the quote:

« The way I think of filmmaking – it’s such a seductive thing. It encompasses every human discipline you can imagine – composition, art, technology, music, movement and choreography. It encompasses all life. » — George Miller

composition is still a fundamental transfer from stills, which offers the bridge into video, but “music, movement, and choreography” are quite the challenge. photography always begins by aping something one sees, explicitly or implicitly, and quickly I can tell that I am aping Japanese and Hong Kong cinema, where In The Mood For Love‘s cinematographer (Christopher Doyle) words are up front and center. in contrasting Western versus Eastern Cinema, he notes that Western is the slap-in-the-face “look, at this, you are so stupid, you don’t know what we are trying to tell you”, while the Eastern approach is to present something and say “hey discover this”. this was the additional aspect of how I can start. yet, this all remains very difficult to pre-visualize and connect one image with another. a further, more appealing approach to incorporate more of the still-camera, as can be said to have been pioneered by Yasujirō Ozu.

**it had become too many adverts, fed by a flagrant use of keyword spying on Whatsapp, and just too much repetition, but more importantly, it had distorted my approach to photography: instead of camera ~> computer ~> to this “personal” Instagram ~> to Instagram (after some thought), it was just camera ~> mass storage ~> jpg to phone ~> Instagram, which eliminates any critical evaluation of what is going on with the photo-taking, and how to integrate what is happening.