In a darkroom, an iPhone connected to a laptop over WiFi is placed into an enlarger. A patch written in Max/MSP selects pixels on the iPhone to be illuminated for a specified duration. This is captured on black and white photo paper. The selection of pixels is algorithmic making each image unique.

Included here:
Palimpsest (October-November 2012)
A Washington Project for the Arts Coup d'Espace project
Manipulated & Curated by Steven H Silberg and Neil C Jones.
Participating artists: Jesse Morgan Barnett, Scott Blake, Patterson Clark, Jarrett Davis, Samantha DiRosa, Gary Duehr, Mark Geil, Julee Holcomb, Ryan Hoover, Miyakawa, Michele Montalbano, Matteo Pasin, Jessica Rowshandel, Sarah Sachs, Ali Seley, s/n coalition, Eric Souther, and Erika Stearly.

Hughes Remix (March 2014)
Including over 175 artist submissions
online at hughes-remix.tumblr.com

Sole Connection (December 2006 - Present)
including over 250 stories and image submissions.
online at soleconnection.tumblr.com

“Mirror Minus” is an interactive installation that continues within my experimental process of Reductive Video. The body of work entitled “Reductive Video” borrows the choice to depict changes in movement (either as individual frames or wholly contained in a single image) and applies it to the technical rendering of images. Using custom software written in Max/MSP/Jitter, video is broken down to reveal only the pixels that change from frame to frame, no longer implying form, but instead the shape of what has changed from the previous frame.

"For Love" represents the reduction of a video into a single print. Similar to the work "After Muybridge, After Marey", the changes in motion and movement are layered to create impressions of these on-screen activities.

The source material is appropriated from online amateur pornographic video-sharing websites.

These experiments in "Reductive Video" are an homage to the work of Eadweard Muybridge, Etienne-Jules Marey, and Thomas Eakins, bringing their ideas into the 21st century by highlighting the changes in motion and movement as experienced and recorded by technology. Video is captured and processed, comparing one frame of video against the next. Only those pixels that differ from the previous frame are then displayed. These changes are then also compiled into a single print. By presenting video and print side-by-side, viewers are able to both isolate motion and experience the whole event in an instant.

For the past few years, I have been exploring the Lumen print process - long exposure on photographic paper without development.

Some items are fixed (which changes the color of the image but offers permanence).

Some items are photographs of the lumen prints for inkjet printing. Those originals are sealed away in light tight boxes.

"Pixel-lapse" photography is the process of creating an image one pixel at a time. Beginning in the upper left corner, pixels are captured sequentially at a set rate until the entire image is formed.

"Pixel-lapse" combines the temporal nature of long exposure photography and the precise organization of the digital matrix. By creating an image one pixel at a time, each part of the image shows different captured moments. In the end, each image not only has dimension but also gains duration and velocity. When the image is complete, we are left with the experience of the passing of time, abstracted by the inability to view the sum total of the event or experience.

The pixel-lapse project has three current iterations: (1) images created by the artist (including portraits), (2) a full sized interactive photo booth installation, and (3) a downloadable home version of the photo booth.

Please visit http://www.pixel-lapse.com to download the software (PC and Mac) and view the various shared galleries.

"Pixel-lapse" photography is the process of creating an image one pixel at a time. Beginning in the upper left corner, pixels are captured sequentially at a set rate until the entire image is formed.

"Pixel-lapse" combines the temporal nature of long exposure photography and the precise organization of the digital matrix. By creating an image one pixel at a time, each part of the image shows different captured moments. In the end, each image not only has dimension but also gains duration and velocity. When the image is complete, we are left with the experience of the passing of time, abstracted by the inability to view the sum total of the event or experience.

The pixel-lapse project has three current iterations: (1) images created by the artist (including portraits), (2) a full sized interactive photo booth installation, and (3) a downloadable home version of the photo booth.

Please visit http://www.pixel-lapse.com to download the software (PC and Mac) and view the various shared galleries.

The ?Internet Meme Flip Books? aim to place popular internet memes in the hands of viewers. This project explores the history of the moving image contrasted with the ubiquity of internet material.

Each flip book is printed on Fabriano Artistico using Dr. Mike Ware's "New Cyanotype" mixed in the 1:1 ratio. Each book is side sewn and the spine wrapped with paper.

Selections from earlier works.