I often work with Olympus E-series cameras; the E-1 and E-400, drawn to their Kodak-manufactured CCD sensors that produce a distinctive colour signature lost to modern imaging technology. These early Four Thirds bodies render scenes with a warmth and tonal character that feels both nostalgic and otherworldly, their technical limitations becoming aesthetic strengths. The CCD's chromatic idiosyncrasies and subtle imperfections resist the sterile precision of contemporary sensors, imbuing images with temporal dislocation and engaging with the archaeology of digital photography itself. A practice exploring the gap between analogue memory and digital promise.
