The panoramic photographs in the selected works pages are composed of multiple digital photographs. Each single digital photograph overlaps another, until the full panoramic image is composed. This process of taking multiple photographs is then repeated numerous times over the course of hours to capture subtle differences of light and color. Often the final image incorporates over 300 individual digital photographs.

In digital production work, various segments of each capture is chosen and digitally fused together with other segments to form the final image. This method of fusing parts from different times of the day allows the discretion of a painter in composing a painting without artificially creating any aspect of the landscape that was not originally present during the actual photographing. The finished image conveys the embodiment of the day that was captured, sweeping in scale and relative duration of time.

The final panoramic image is printed with pigmented inks on a 100% cotton paper and under goes numerous steps to become a finished work of art ready to hang. The paper print is permanently laminated to a rigid hardboard substrate and 2 different types of isolation layers is applied before varnishing. These isolation layers protects the paper and pigmented ink if the varnish is ever removed for future conservation work.

The final (methacrylate) varnish serves several purposes. First, it seals and protects the work of art from damaging effects of atmospheric pollutants, ultraviolet radiation, heat and humidity. It also provides a hard surface that can be routinely cleaned with a soft damp cloth. Finally the varnish adds depth and clarity in both color and tonality that can not be achieved by any other means.

Each material and process is executed to the most stringent museum qualities of archivability and is suitable for commercial and museum exhibition.

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