LIn this series I continue to combine two photographic techniques that reinforce my personal responses to my subject matter: lith printing and emulsion transfer. Lith printing requires an extra-long exposure of the negative, and 15 minutes, or longer, in a highly dilute lithographic developer (a high-contrast developer formerly used for line drawings). I use a particular paper, Agfa, which is no longer produced, because it softens and warms the images, while adding some grittiness. The final step involves transferring the emulsion of the image onto watercolor paper to intensify the texture and allow the image to float toward the edges, distinguishing its shape from the perfect square. Yerkes recreates each scene as a fragile object, an artifact uncovered.