These two images, from the same negative but printed with different processes, are outstanding examples of Laptuta’s fictional cinematic panoramas. The entire image is accomplished from memory, for the photographer does not take consecutive images, as in a conventional panorama, but may turn 180 degrees for the next exposure, and then walk 100 feet or more before taking another shot. Laptuta employs a primitive toy camera with a manual winder that enables her to fashion multiple, slightly distorted images without interruption. She is attracted to fleeting light as well as deconstructing the horizon line, both interests beautifully explored in this dense forest scene where the elongated tree trunks become a maze of standing sentinels.
Cleveland Museum of Art, (03/26/2011 - 08/14/2011); "Contemporary Landscape Photography"