Number One - (*) This series centers around one shot. The subject of this series is about the notions I have over the secret of images. I long ago discovered that a photographic image may be rendered by a set of rules, established before my time, so that other observers may judge it. This idea is particularly expressed in photography, where you can have stringent protocols that are the parameters by with specific qualities of an image may be predictable. If you are a black and white photographer using the analogue Ansel Adams, "Zone System," your image may be judged solely on its successful depictions unveiled by the rules of the film and print processing guidelines that strictly exhibit known and repeatable results. So, suddenly, content stands in a secondary position to some high thinking observers- the sticklers of predictable details. It is always the fodder of debate. Well, that doesn't sound much like me... However, I was in business with a friend, Douglas E. Tomlinson, who found great comfort in the science of predictability. I came to appreciate his tenacity for spelling out all the discoverable details. Back in 1972, I knew that if you don't understand how chemical processing time, and temperature can compensate for a mistaken exposure of light upon a 4 x 5 inch sheet of film - you might, one day, have to face a very unhappy bride who's brightest memory is based upon a singular moment that cannot be retrieved by you... Anyway, I digress to make a point. This set will consider other aspects, parameters, and perhaps, non-quantifiable considerations about a single image. Lately, I have talked about my approach to my art these days  let me quote myself, Just as a painter sometimes underpaints by design, and out of other reasons, or needs - I seek the hidden images inside the surfaces of my image captures. No original image is only as it appears. Not for me. When I can dissect a pixel - I can grow a dream... So, in order to express my notion, I decided to pick an image  one that is older, from early in my career, and one I felt I have never fully explored. This idea has been in the back of my mind for a long time. A film, or digital capture, normally can be reproduced to a specification and likeness historically expected for the subject and medium. We know when producing a normal city or landscape  the sky will be blue if the color is true. We know a photographer, when shooting for black and white renderings may use a red, or a polarizing filter to darken the sky, or eliminate unwanted reflections and whiten clouds. Today, in the digital lab  these steps may also be taken artificially. When we photograph people  expectations are much the same if not more particular  the reasons you might guess for yourself. What I know is that I have seldom seen one portrait image being made over time after time  each rendering more than a bit different than the other. I have always tried to print one image the best I could according to my values and skills at the time of printing. Here, I want to see multiple images from the same single negative each rendered differently  yet still made of the same stuff... I want to explore the nature of an image and what it really may have to offer me. So comes this series I have titled my, Sa'she'ahna Series. It is a series of renderings made from the elements of one primary photograph taken in Dallas, Texas, in the fall of 1974. Over the course of a week, with the help of digital plug-ins and PhotoShop (and my imagination), I have come up with these images... In addition to my primary portrait, I used one landscape image from my farm as digital goo for background. I also created backgrounds from the goo of my primary image - as well as digital goo I reciped up from scratch. Also, I incorporated two texture filters I downloaded from Mayang's Free Texture Library - which I just checked out, and now - it appears to no longer exist - sorry. Still, I used Peacock Fan and Redgoldripplat. What I hope I achieved is a set representing a theory I have about imagery  and the subjective essences I can gather into objective renderings when I put my mind to it. You will have to be the judge over the fact of if I reached and made my point or not... - Brad Michael Moore

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