Historically a model of rational, empiricist thought, the camera obscura persists as a curiosity in the age of advanced photographic technology, closer in practice to how our own eyes receive images than to any manufactured camera today. Using this centuries-old apparatus, Smith transforms modest hotel rooms, abandoned fire lookouts, and airstream trailers into nostalgic showrooms of their environs. The practice is tenuous, highly dependent on the availability of both consistent exterior light and complete interior darkness. With exposing each image over the course of two to six hours comes the risk that they may not materialize at all. In its intimate instability, the medium operates as an allegory for experiential memory. Inside Out is a marvel of slowness in image making that runs counter to the instantaneousness of digital photography today.