The photographs are acts of translation, transferred from digital to analog media. The picture planes of the series can thus be read as arenas and quasi-interim results in the skirmish over the right to control the image’s formation. They function equally as battlefields and playing fields for the feud and cooperation of two participants who, at some points, are oppositional and, at others, complicit: the artist and the apparatus. The entanglements of analog-digital and human-machine maneuvers make it difficult to discern to what extent either party successfully exits the scenario.