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One is trying to say everything that can be said
for the things that one loves while there’s still time.
– W. S. Merwin

I’m looking for perspectives on this heartbreaking, beautiful world.

A review once described my work as “fleshy and tender.” That’s more or less what I’m after.


A few notes about processes:

The photos of flight trails (birds, etc.) aren't time lapse images, but layered digital files combining hundreds or thousands of shots taken over the course of a few seconds to a couple of minutes, showing the same birds in different positions in space over time.

And the process I use for some of my still lifes is a bit unusual, with digital technology replacing not only the darkroom, but the camera as well. I sometimes (but not always) use a flatbed scanner as a camera, which offers interesting opportunities and limitations. Unlike a traditional camera, it captures an image by slowly moving both the light and the lens across the subject, essentially lighting and photographing it from multiple angles in one long exposure. This produces a single image stitched together from thousands of tiny slivers, to which I then make endless, minute adjustments. This offers a view that can't be seen through a camera lens or the naked eye, and illumination that can't be duplicated with fixed lights. It also offers a uniquely detailed view, as I magnify each image and work on it down to a level of detail that will never be seen in the finished print. Full-resolution prints of some of the images can be as wide as sixty inches, and enlargements as big as 300 inches (25 feet) wide have been made without loss of detail.

People sometimes refer to this kind of work as scanner photography, scanography, scanograms, flower scans, scanning, and so on. I still call it photography, because a photograph is a picture made with light, and today there are many alternative processes for making photographs, including various camera-less methods.












Copyright 2000-2013 Doris Mitsch