For the most part, my work is conceptual. I usually begin with an idea that wanders in - inspired by memories, experiences, a stray comment of a friend, a bit of song lyric - my thoughts then turn to what this impression is trying to say and how can that be communicated with a visual. There are times when an image-in-progress will inspire a suddenly different concept, while other times the image will evolve and shift over a number of months until a final idea is realized. And, of course, there are some pictures that exist just because they make me smile.

I explore digital photo-layering as a way to produce my depictions; this entails building a picture from many different layers of images, elements, colors, and textures - this process allows me to better express the stuff rattling around in my head. As an inspiration takes form, I begin to identify elements I will need to photograph. These elements can be as simple as a shot of my daughter walking down the street, a photo of a piece of paper with watercolors spilled across, or it can be as involved (and a bit scary) as sending my camera aloft on the string of a kite to capture that slightly different perspective. Background and subject elements are captured using infrared (IR) photography. I am fascinated by the surreal tones of IR images and find them to be the ideal springboard for my daydreams. Color and texture elements are obtained with standard visible-light photography. Once all the necessary parts are gathered, I spend time at my computer assembling the elements into my particular vision. During this work, I endeavor to remain nimble; random thoughts skate by quickly and the chase is often a great deal of fun. 

These images (in one form or another) have been here, in the dark, sometimes for quite awhile and it is strange and delightful to me that technology has found a way to let them out into the light. 

Fish Dream

Fish Dream

My Abbreviated Story

Mark Morgan, a longtime resident of Seattle, considers himself a conceptual photographer. Beginning with an idea, Mark then attempts to determine the best way to communicate that concept with a single visual. Keeping this vision in mind, the different elements, colors, and textures are digitally photographed and then combined via software thereby bringing the image to life. The goal being to make the visual experience as seamless as possible giving the viewer every opportunity to suspend disbelief - if only for a moment.