This paper looks at how bodies-in-motion make and break photogrammetric spaces within my practice-as-research PhD, through the performative procession that I call the ‘camera-walk’. In my work, instead of the digital glitch disturbing the live performance, it is the body-in-performance that glitches the digital, within a method enmeshed in slip-ups and digital debris. Structure-from-motion photogrammetry requires a high degree of overlap between the separate photographs that comprise it, so the moving body creates disruptions, like a ghost tearing holes through the digital mesh/veil. Louisa Minkin reminds us that ‘algorithms are buggy, automatisms glitch’ (Minkin 2016): in this practice that moves between physical and digital space - dressed in techno garb but grounded in materiality - I encounter digital dirt and nebulous geometries that affect photogrammetry’s production pipeline. The cleanup of the digital invites questions on what gets ‘excluded or destroyed, (…) the (more or less) failures, the aborted ones, the debris, the rubbish’ (Derrida 1987). The hauntology of the glitch as an irritant which slips through and returns has gone further astray in the last year of life under the COVID-19 pandemic; with our live-streamed performances glitching as standard, are we all ghosts in the machine yet?