I began working in the darkroom in the summer or 1962 as part of a summer science program that used hands-on methods to teach sixth graders about the nature of chemical reactions--and my practical and academic education in photography continued from there (raise your hand if you ever calculated circles of confusion to assess viewing sharpness or the calculated reciprocity adjustments when shooting with a view camera?).

 But I when I picked up a digital camera at the end of 2013 I was shocked at how much digital cameras saw that we don't see or perhaps just don't register. I started doing very deep crops, such as 100 x 200 pixels out of the 4,000 x 6,000 pixel file--often from files that already zoomed in closely on their subjects. I didn't, and still mostly don't, run from traces of a work's digital origins. Doing that, to me, would be like telling Van Gogh to stop putting so much paint on the canvas. All art is made. Live with it.

Even though I do little of this sort of work now, my initial interest in the gap between digital vision and human vision remains strong. It is responsible for my ongoing inquiry into self censorship of what is in plain sight.