While many artists were exploring video’s time-based characteristics in the early 1970’s, I began using the video synthesizer and computers at the Experimental Television Center in upstate New York to produce still images on film. The video synthesizer functioned as a type of electronic darkroom. My own slides, negatives, prints, movie film and videotapes provided source material. Positive and negative images could be made instantly by flicking a switch. Video keyers created high contrast effects similar to Kodalith film. Colorizers added color to black and white negatives and mixers enabled me to superimpose images from multiple sources. The effects of video image processing were cumulative. I could manipulate images electronically and see the effects of each change on the TV screen as it occurred. Since printers that are common today were non-existent, crude, extremely expensive or likely to be in the hands of government, science or industry, I would photograph the results from the TV screen on to color or black and white film with my 35mm camera, either accepting the image as is or manipulating it further in the darkroom.