Introduction
These photographs, made without a camera, are sweat and heat imprints into film emulsion. I consider handprint portraits to be as expressive as any of a face, more private, and possibly more revealing. They do not reveal race and, often, neither gender nor age. I borrow the imprint technique from the caves of Lascaux, (the earliest know examples of self identification) the ‘Shroud of Turin’, Marcel Duchamp’s ‘Female Fig Leaf,’ Yves Klein’s body prints, Jasper John’s ‘Studies for Skin’, and 19th century Spirit Photography.