I work with photographs, so I do all that I can to ensure the finished work remains photographic. Given that the idea of photographic verisimilitude shifts within historical and sociological contexts, I attempt to mediate the intention, usage, and plausibility of the picture within these constructs — generally using structural methods derived from traditional darkroom technique.

Retouching has a reproduction component and a picturing component. I considered it a success when both of these are invisible, and the work has the presence of an unmediated image. Which is to say, I do all that I can ensure the finished work remains photographic.