The Diana camera—an apparatus cheaply made in the early 1960s that subsequently developed a cult following not unlike that of Pixelvison video—might be described as a subjectivity machine, a device for the manufacture of idiosyncrasy. So much so, in fact, that it seems wrong to refer to the brand in the singular; really, we should only ever speak of particular Diana cameras, since their inherent flaws ensure that each Diana distorts images in its own peculiar way. Houston-based photographer Amy Blakemore has been exploring these eccentricities for some time—her last show at this gallery was a