Remnants:
                                                        A small part or portion that remains after the main part no longer exists.

I am drawn to the textures, shapes and intrinsic design attributes of decaying organic and inorganic material. Remnants reference the works of Irving Penn during the 1970’s and Karl Blossfeld during the 1930’s.

Remnants began as an exploration of macro photography of small pieces of natural detritus. Although I had taken many close up photos of plants and animals with film, I wanted to see these objects at a much higher degree of enlargement than traditional photographic methods offered. Scanners were the solution to this challenge.

Scanners are a special class of imaging device, but how best to use one? In the middle 1990’s I began studying how to convert my photography skills from analog to digital. During this time I began to understand that the quality of a digital image is predicated on how the numerical sequencing in a file is initially generated. The numbers define resolution, bit-depth, print size, color appearance and ultimately print quality.

I was began to appreciate the difference between how a camera lens sees an object and how a scanner sees that same object to make an image. All digital devices have limitations. The trick is to understand these limitations and learn how to work with them.

In 2002 I began creating my fine art series "Remnants" by using a scanner to create macro photographs without benefit of the traditional set-up, i.e., a macro lens, a camera body, film and special lighting.

I wanted to explore my understanding of the advantages and disadvantages of digital imaging with a scanner. Could I produce images on par with the analog method I was used to? Although a scanner produces images with extraordinary quality, there are notable limitations. Depth of field, selective focus, camera angle, focal length and perspective are either limited or non-existent when using a scanner. Therefore placement on the scanning bed and angle to the light source become more important when working with this method. I do  have unprecedented control over brightness values, color, contrast, and print size.

I am pleased with the results because what I am seeing in my head and what I am able to print onto paper match up quite well.  The visual solutions I seek drive the technical decisions I make. I am thinking about the texture of the object and the texture of the paper it is printed on. I am thinking about the objects color and how well I will be able to translate that onto the printed page. I wish to make interesting and beautiful images that are colorful and rich in textures.
 

The goal now is to venture out into the field and use the sunlight as a source of backlight to create interesting new effects. I will also use the moonlight to bring another level of creativity to the process I have established.