Bodies of Work:

More Composites           back to primary Composites page

  • Pipeline in the Yukon Watershed
    North of Fairbanks, the Alaska pipeline crosses the Yukon River. The central panel shows it ascending to the crossing. The other scenes were found nearby, including Alexandra Myers lifting the pipe a smidgen. 2010.
  • Courtship Dance of Queen Butterflies
    These were photographed at the Arizona-Sonora Desert Museum near Tucson, Arizona, in an outdoor garden specially planted to attract free-flying wild butterflies. I believe that the same individuals are shown first courting, then mating. 2004.
  • Wilnter Solstice Dreams
    Butterflies are to chase, through spring, summer, and autumn, and dream of in the winter. In this digital composite, the real patterns of Painted Lady butterflies are falsely colored. 2004.
  • Stained Glass Elders
    Sun rays reveal overhead leaves as stained glass windows in a forest cathedral. I was very satisfied that the mirrored panels suggest totem poles showing hints of animal and human characteristics—spirits in the woods. Shively Park, Astoria, Oregon. 2002.
  • Sky Trunk
    The Teal Slough Grove of the Willapa National Wildlife Refuge holds the most accessible old-growth Western Redcedars in the Columbia Pacific area, just a short hike up a logging road from US-101. The bark, spliced from two views, shows the same tree as the central panel. Between Seaview and Naselle, Washington. 2002.
  • Klootchy Creek Giant in 2001, No.1
    The Klootchy Creek Giant stood 216 feet tall, with a 56 foot circumference and a 93 foot crown spread. It tied with a Quinault tree as the country’s largest. In a December 2006 windstorm, a rotted upper portion fell, and in the Great Coastal Gale of December 2007, the whole top fell. Klootchy Creek County Park, Clatsop County, Oregon. Camerawork 2001, composite 2007.
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Composites

One problem I've enjoyed wrestling with is presenting several aspects of my experience of a place or phenomenon in a single image. In these digital composites, you will always see obvious panels or insertions—reality is seen straight, in a multiplicity of views. My work is about encountering and perceiving the world, and understanding and thinking about what we see. Great effort is taken to assure that the combined aspects belong together in meaning as well as design. When multiple camera views are combined, they are unified by a combination of subject, geography, and time.

You’ll know when flights of fancy replace reportage. In an image mirrored and spliced to itself a spirit emerges—a face or a totem. Or imagination has inserted musical notes or fantasy colors—in an obvious way.