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The eye does not see like a camera. We do not perceive complete images through sight alone, but rather we construct pictures in the mind from a mixture of visual information, memory, and logic. When the camera was invented its imagery seemed seductively strange not only because it was so true to life but also because we saw the world in a new way: photographically.

Of course, one of the most obvious differences between a photograph and human vision is that the photograph is frozen and often in focus.

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We can spend time perusing every detail of a single moment. In contrast, seeing with our eyes involves inspecting many points within a scene over a period of time and then constructing a picture in the brain. Even cinema, which appears to present a continuous moving image, is in fact a series of separate frames, each effectively a still photograph.

None is quite the same as the way we see, but each approach — each technical and aesthetic experiment he makes — draws on the functional peculiarities of human sight. His images of Art Deco architecture play with print processes and lighting that we associate with the s to evoke a strong sense of historic period. In his aerial photographs he uses adjustments in the focal properties of the lens to suggest a radical shift in scale.

His panoramas unfold across time as well as space. He takes the inferences born of our experience and the conceit that a camera is like the eye, and orchestrates those expectations, inviting us to look at the world afresh.