It started nearly a year ago when Hundley (working as Billy Duchamp) decided to stage spontaneous photo-shoots with himself as subject. The initial images were very straight forward take-offs on Francis Bacon's seated figures with contorted faces; this effect easily achieved with slow shutter speeds and controlled motion by the subject. Soon, however, he began collaborating with his college buddy Farrar (both have recent BFA degrees from Southwest Texas State). It was after the two began collaborating that the shooting became much more deliberate and organized.

Concentrating on the effects of motion and light, Hundley and Farrar increasingly began using models (friends of theirs) working with specific direction but allowed the freedom to be expressive. Literally hundreds of photos were taken, each roll of processed images providing clues as to how the strobes, lasers, or colored lights might be more effectively manipulated to achieve desired results during future sessions. Despite the enormityof chance or random events using this process with so many moving variables, over time Hundley and Farrar began to master the use of the action, lights, camera, and film.