I often use the phrase "unprivileged angles" to describe my preferred camera technique: backlit subjects, follow-cam, lopsided compositions, one actor obscured behind another.

But Canary reaches a new level. Images are dominated by occlusions and barriers. Whereas unconventional angles in Around the Bay serve to distance the viewer from the characters, in Canary these shifting cages trap the characters, or lend a surreptitiousness to the action (and inaction).

Theme as technique as theme.

The following images--ostentatiously arranged to exploit delectable rhymes and near-rhymes--were produced by myself, Ali, Casey, Ryan and Roger without mutual awareness. These compositions were not predetermined; they pleaded to the lens as the scenes developed.