My huge photocollages (link > thataway) strive for what I hope is an uncanny verisimilitude–classic three dimensional objects in perspective space. But a photographer (Idris Kahn), featured in the NY Times magazine last Sunday works in quite a different way. Like me, he uses hundreds of (mostly found) photos, and combines them using transparency and layers in Photoshop. (Examples here.) But his work hovers in some multi-dimensional space, and his use of transparency goes towards creation of what I’d call impressionist essentialism–an attempt to reveal an essence almost like a memory or archetype. You get something with a feel rather like Monet: the solidity of things dissolving into an IDEA of the subject matter.