Within the study of the history of painting, the photographic detail is a device used to reveal the hidden, such as technique, gesture or the genius hand of the artist. The ‘seascape’ macro photographs reference this search but with a more ‘forensic’ approach, a documenting and mapping of the material fact of paint, rather than a search for ‘artistic truth’. The source paintings are fictions, produced to be digitally photographed. Paradoxically, this method has resulted in imagery that also references the aesthetic of romantic seascape painting, a (re)discovery of my painting traditions.