July 2025

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

In-Camera Quadruple Exposures, Late June 2025

 

Both of these images was created with a Nikon D810 and a 105 njkkor macro, utilizing the in-camera flash as a fill-in to lighten the shadows and cunteract camera movement. The lens also has a vibration-reduction setting, which I used during these hand-held exposures in the late afternoon.

May 3, 2025

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

Evolution of a God from Dandelions

These are a few images which are emerging from a small group of multiple-exposures I made during two short photography sessions over two days. During late afternoon, in open shade, I used a full-frame dslr with a 105mm macro, at F8. The camera I use has a built-in flash that I find extremely valuable in situations like this. Handheld, at shutter speeds between 1/200 and 1/60, using the TTL flash and sometimes the lens' vibration-dampening ('VR') setting, about fifteen exposures were made in total. All the images were of the exact same dandelion. Each image is actually an in-camera multiple exposure: the first day's images were triple-exposures, while day two switched the setting to quadruple-exposures. This image is from day two. It is an in-camera quadruple-exposure.  The shadows in this photo have been toned a slight orange-red, while the highlights and midtones are a considerably warmer yellow/ivory "gray". More images to follow.

Triple-Exposures (July 27, 2024)

 

New Work (April 2024)

 This image began as a triple-exposure, which was then duplicated four times and arranged to complete the final work. 

Double-Exposed Orchid (March 10, 2024)

 

February 2023

 

New Work: Spring 2022 Multiple-Exposure in the Clover

Three Different Visual Strategies/Responses to the Same Subject: Orchid

These three photographs were made using the same camera, in the same room, utilizing the same subject: my very patient and always willing subject, the plant I lovingly have named Lazarus, after the biblical figure who rose from the dead. Lazarus the Orchid came into my life  three or four years ago. This orchid has returned from what I believed was death, to bloom and flower again, over and over. This re-flowering, this rebirth, always inspires me to observe and celebrate and create a new round of photographs.

The top image is the most visually conventional, on the surface, yet even it is a couple of steps away from a traditional photograph: looking closely, the viewer detects ghostly double images within the frame.

The second image was made with a pinhole "lens", rather than an actual glass lens. The long exposure time, thirty seconds (due to the tiny f162 aperture through which light strikes the sensor), resulted in a bit of softening of the floral detail.

The third and final image is also a pinhole photograph; it varies from the second image due to a sense of overall Dionysian energy and fecundity, almost from a bug's-eye perspective.

 

 

January 2021

 My thought when I first viewed this in-camera, triple-exposure photograph, as it appeared on the viewing screen on the back of my DSLR, was that extremely weird, uncanny sensation that I was gazing at a figure simultaneously orchid and human.

Mechanical Flowervine, 2020

 This image began as a series of in-camera multiple exposure photographs. On the day I made these photographs, I utilized my camera's multiple exposure capability and made three exposures on each digital file. Additionally, the camera was rotated to a different position on a circular axis between each exposure (the lens was in the same spot, although the camera body was rotated). These four separate files, each a triple exposure, were combined on a new canvas. This new composite image was then saved, and duplicated in a horizontal reverse. This reverse was then added to the first composite. "A process so simple a monkey could do it!"

Exploding Orchidbomb (October 14, 2020)

This image is a composite created from an original single photograph of an orchid. This source image was a multiple exposure of the orchid. This original source image was multiplied into individual identical copies. These nine copies were divided into three sets of three images each; each set was a row of three images in a horizontal line. These sets were either rotated vertically, or left alone. These sets were then arranged on top of each other, with each row laid horizontally upon the row beneath it. These rows were adjusted in Photoshop in layers slightly using the move tool to position them within the compositions vertical axis. A slight amount of blending occurred to smooth out edges, mostly at print output size viewing option.
 

Blue Orchids, 2020

Predator, March 2014

Microflora? Mechanical Flowerhead? New work from the last weeks......

A composite of four digital files, each scanned from the same analog negative, originally exposed using a pinhole lens and a film-based (120 format) camera. Or, in an alternative reality, an actual x-ray of the face of a mechanical flowerhead.

Picket Fence through a Pinhole

New Composite from Recent Work...

New Flowerbolt Image, with Digital "Split-Tone" applied.

Originally created using a roll-fim camera and black-and white film, this image was 'finished' digitally with a split-tone effect. The grayscale file was first converted to an RGB file in Photoshop, and then three individual color- adjustment layers were added, each with a different hue and saturation level. These three layers were then selectively erased, "per flower", to arrive at the desired degree of tone and color. The final result is similiar to the traditional analog photographic printing technique of placing the print in a tray containing a chemical solution of selenium or sepia-toner.

Recent "Flowerbolt" Work...