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Achieving photographic perfection is all too easy in the digital era—and, to Christopher Myers, that’s not a good thing. The Baltimore native set out to document the older parts of the city before they were paved to make way for shopping malls and offices. His chosen technique of affixing hand-developed black-and-white film to glass plates was, like his photographic subjects, abandoned long ago. Melting film is a volatile process, and to practice it, says Myers, “you let accident and nature take its course.” His large prints in “Standing on Two Eyes” are the result of controlled experiments and fortunate mistakes that result in mysterious, dreamlike images. Chemical processing blurs the edges and adds the imprints of streaks and bubbles to images of rain-slicked Baltimore streets or idle ships in the harbor. The distorted, melted, and numbered corners of the film further convey a feeling of abandonment; it’s as though you’re looking at a old movie still that had been just barely spared by a projector fire. With the exception of one photo of a woman in bed holding a toy plane aloft, much of Myers’ work is landscape or architectural scenes that he would stumble upon while traversing the fluid Baltimore landscape. “The waterfront changes every month,” says Myers. “It reinterprets itself.” And Myers, through his reactionary technique, reinterprets contemporary photography. The exhibition is on view from noon to 6 p.m. Tuesdays through Saturdays, to Saturday, Dec. 29, at the Gallery at Flashpoint, 916 G St. NW. Free. (202) 315-1305.