The Digital Inverts and “Dupes” are composite photographs resembling emulsive prints and other 19th-century photographic processes. Deviations from the original image challenge the primacy of the initial mark. Blurring boundaries between copy and the original, they diverge from the initial prototype due to digital manipulation and processing. Simple one to two-word naming systems correlate to the imagery’s primordial aspects and to the act of duplication. In titling each piece, I look to describe a simple, guttural translation of form similar to the origins of speech. Pseudo-science functions as subtext to cloak themes of deception and desire.