New Work: June 2026

 

May 2026

 

May and June 2026: The Three Ambassadors

 

July 2025

 Ten in-camera multiple exposures on a single file. Camera rotated 360 degrees during sequence of exposures. 

Ten-Exposure In-Camera Multiple-Exposure Self-Portrait, July 5, 2025

 

May 3, 2025

This is an in-camera, quadruple exposure. Photographed May 3, 2025.

God of the Dandelions (April 2025)

A strange realization that this image resembles an interior 'vision' I had days earlier washed over me when I stared at my computer monitor screen, having clicked "save image" hours earlier. I believe I encountered this image in a remarkably specific and visually-particular daydream a few days before I made the in-camera quadruple-exposure that served as the source image of this final version. 

The notion of a species of humans that grew a small jewel or diamond or precious amber or ruby or jade or sapphire or turquoise literally on the skin, embedded on the surface like an indelible tattoo, naturally growing each time an act of true love or true kindness was done from purely selfless, noble intentions. These people who did the most good in society would be notable for their encrusted, bejeweled skin surfaces, like old barnacles on a sunken chest of treasure. 

Untitled Multiple Exposure, Multiple Self Portrait, 2025

 

Cat and Dog Orchids, 2024

Late September, 2024: Memory over Time, Time over Memory

After having finished editing these two photos, I've come to the conclusion that they remind me of the way that a specific memory changes over time, just as the historical record changes as years go by,  and that things which once originally seem ideal and solid  inevitably become abstract and faded. or perhaps more gently and elegantly stated,  MY INEVITABLE REFLECTIONS UPON THE PARADE OF ENTROPY.
Both images were created using a +10 year old Nikon D7100 dslr (35mm 'cropped-format' or 'dx') and a 24mm lens of even earlier vintage. The top image, in black-and-white with its' magnificent  doubravatone finish, is a seemingly 'simple' in-camera, traditional, multiple (triple) exposure. The color image below is an in-camera 'image-overlay' of an in-camera triple exposure and an in-camera double -exposure. The D7100 produces 24 mb RAW files.These reproductions here of course are much smaller jpegs, by necessity.

Kansas Landscapes, September 2024

These multiple-exposure photographs were made with a full-frame 35mm dslr with an older 85mm pc lens. The front element of the lens was swung away from the "film-plane" to the maximum extent allowed. The lens was either wide open or just no smaller than f4.5. A small amount of grain has been digitally added, to increase the perceived sharpness.

The total number of exposures on each one of these images was either five, or six, depending on the photo. They were shot hand-held, using the multiple-exposure mode on my dslr, which allows one to shoot multiple exposures on the same digital file, in the camera, without mandatory post-production.

Double-Exposed Orchid (March 10, 2024)

 

High Desert Mirages, New Mexico (March 2023)

 

October 2022: Kansas Landscape

 This image of a landscape in Northeast Kansas was created on location, using the multiple-exposure function on a Nikon D810 with a 35mm lens. Two exposures were made in succession, with a 180 degree camera rotation between them. 

This is a Kansas landscape in miniature; this is an Imaginary Kansas.

Cloudscapes (double-exposures), August 6, 2022

 

New Work: Spring 2022 Multiple-Exposure in the Clover

Trinity Orchid (September 2021)

Nucleus (June 2021)

Ghost Plant (August 2021)

August 2019 still-life of flowers morphs into a Baroque design

The original source material being photographed here was a vase of flowers sitting on a dining room table. Long after midnight I decided to make a couple of detail photographs of them. A few days later I "sandwiched" two of them together, making a new image. This image was duplicated four times, and flipped/rotated/reversed and then joined together, making the final image you see here. This image is very fun to look at, very entertaining, very hypnotic.  The central machine-like flower generator in the exact center is matched in weirdness only by the laughing face of the Dionysus-like creature at very top center. Finally, the viewer notices the pale "image" of a child's face emerging out of the center lower pattern as well. This child stares directly out of the frame, meeting the viewer's gaze. This photograph breaks expectations repeatedly, while still utilizing the tried-and-true compositional norms of the very late Renaissance.