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Looking Up, Looking Close (Nature) - The Death of Winter https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1691017083923-6G32XZC25AX1N7EQXRLZ/20230705_133749%2C+v2.jpg Gallery - Looking Up, Looking Close (Nature) - Painter's Palette https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779111864289-3ZU56QP4F04ALZ6NPF8C/DSC09924%2C+v2.jpg Gallery - Looking Up, Looking Close (Nature) https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779111963014-F9NR6GOIDZB9QTS9NGXL/The+Beach+BW.jpg Gallery - Looking Up, Looking Close (Nature) https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779115234840-7NWN2TEDPS3AJI3ZG53K/Untitled_Panorama1%2C+V2.jpg Gallery - Looking Up, Looking Close (Nature) https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779111741081-5KDKF8NJW2S6S1X6F7OY/0A4A0612%2C+BW6.jpg Gallery - Looking Up, Looking Close (Nature) https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779112044992-3ZNK8M479CZTAS1R6F8E/DSC00050%2C+v2.jpg Gallery - Looking Up, Looking Close (Nature) https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1494722068750-PGSQGNR8CS8MUCQVHP1V/IMG_5412.jpg Gallery - Looking Up, Looking Close (Nature) https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1476667259588-SZEBHCVUUKPCO0YZ03T7/IMG_0148+-+Cards%2C+Small.jpg Gallery - Looking Up, Looking Close (Nature) - The Sun in Bloom https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1466915096504-0DGOMAYXY8ZEUW6IKNNR/IMG_0161.jpg Gallery - Looking Up, Looking Close (Nature) - Beauty https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1466915102918-9IZPIROG7FCMF1IU2T19/IMG_0293.jpg Gallery - Looking Up, Looking Close (Nature) https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1462150130678-YZNB0MWNLVLLDX1IC96N/The+Beach.jpg Gallery - Looking Up, Looking Close (Nature) https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1441493479369-GPRLIIH14JHPDHYKBKXI/IMG_5414%2C+Version+3.jpg Gallery - Looking Up, Looking Close (Nature) - "Road to Nowhere." 2013. Somewhere along the highway outside Salt Lake City, UT, in mid-December 2013. One of my favorite images. Taken on a road trip from Utah to Las Vegas, with significant side trips through Monument Valley and Zion National Park. In snowy, blustery winter. I pick odd times to visit the natural wonders. https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1441484382884-IV7LDK74P9FF34LPGO9E/IMG_0371.jpg Gallery - Looking Up, Looking Close (Nature) Taken at the UC Davis Arboretum. This guy (Or gal? 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Multiplicity https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779491898130-NU77CBZAIO3Y8XKAIOUX/19.jpg Multiplicity https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779491900782-TNPBQNE6WXZ542S54TAV/20.jpg Multiplicity https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779491901455-XSWXX0X0UXDF5C17ZPSP/21.jpg Multiplicity https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779491903204-92IHVO4567TJBITZU7DJ/22.jpg Multiplicity https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779491904648-PJHUKQI0577P22NQK00W/23.jpg Multiplicity https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779491904801-27K77NEZLBG4249BRF7K/24.jpg Multiplicity https://www.michaelkellydewitt.net/home daily 1.0 2026-05-18 https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1462636742149-M3OKN1CPZIRHFXHYHQ5W/The+Beach.jpg Home https://www.michaelkellydewitt.net/studio-form daily 0.75 2026-05-21 https://www.michaelkellydewitt.net/scenes-from-a-train daily 0.75 2026-05-15 https://www.michaelkellydewitt.net/offkilter-main-page daily 0.75 2020-08-22 https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1598204636092-9AICC5PQST2BCX3UQKGO/DONEState+of+Mind%2C+1_Michael+Kelly-DeWitt.jpg Off-Kilter - Main Page https://www.michaelkellydewitt.net/field-studies-main-page daily 0.75 2026-05-18 https://www.michaelkellydewitt.net/about daily 0.75 2026-05-13 https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1482075176482-4A1WLQC761EWY1DXS3ZL/Bay+Bridge.jpg About https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/76e3dada-e069-4e2d-b7b1-3a696680fd59/0A4A4765%2C+v2.jpg About https://www.michaelkellydewitt.net/about-passage daily 0.75 2026-05-18 https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1778705898101-04M4EQU802XSA3MWRMJA/kelly_dewitt_passage_11.jpg About "Passage" - About Passage The photographs in Passage were created along the corridor between Sacramento and the Bay Area – a route I’ve often traveled via car and Amtrak’s Capitol Corridor. For many who make this journey on a semi-regular basis, the landscape becomes almost routine. The route’s scenery is often more functional than scenic – cluttered as it is with farmland, refineries, and industrial architecture: things that almost seem designed not to draw a viewer’s eye. This is part of why I have kept photographing it. Seen from a moving window, the route stops being a sequence of individual places and becomes one continuous field of view. A holding tank, a stretch of marsh, a windmill seen just beyond a ridge, and the steel underside of a bridge: each carry about the same visual weight. I find that the rural, agricultural, and industrial elements are most interesting when they meet without quite reconciling (a windmill, for example – traditionally agrarian – hosts a cluster of modern cellular antennas endemic of the technological age). In addition, I find that the act of looking is interesting when it is partly impeded – when the window is dirty, the light is wrong, the train is moving faster than the shutter wants it to. The work here has two related strands: One follows the I-80 drive and the industrial sites that line it; the other follows Amtrak’s Capitol Corridor, and is concerned less with what lies outside the window than with the window as a condition of seeing – reflections on the glass, the dark interior framing the bright exterior, the slight disconnect between what the eye sees and what the camera records. https://www.michaelkellydewitt.net/about-offkilter daily 0.75 2026-05-22 https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1598115485530-S6MXH14HRDSL3PF66QVR/DONEState+of+Mind%2C+1_Michael+Kelly-DeWitt.jpg About Off-Kilter - About Off-Kilter The photographs in Off-Kilter were created by viewing buildings and architectural details from angles steep enough to push beyond their familiar, comforting shapes. Most of the structures and details photographed here are architecturally appealing subjects: a downtown tower surrounded by fog, the California State Capitol's dome, the riveted metal of a bridge’s tower seen from beneath, and an Elks lodge made of brick. Most were photographed in the midday sun that architectural photographers usually try to avoid, and from positions that flatten visual perspective. Both that time of day and that perspective generate an off-kilter point of view that threads its way through the work – keeping viewers slightly off-balance. What often interests me is the space where formal beauty and visual unease occupy the same frame. A tower viewed straight up its corner edge becomes a wedge driven into the sky. When tightly cropped, the diamond pattern of a facade stops being the functional front of a building and becomes a flat geometric field – light on one panel, shadow on the next, the pattern carrying to the edge of the frame. And by removing the visual cues that we ordinarily use to identify a building (the ground, the entrance), the steep angle lets the structure register purely as form before its true architectural function registers with viewers. Off-Kilter moves between wider views of full buildings and tighter studies of architectural detail – serial balconies, diagonal louvers, a metallic grid with a diamond pattern. The unifying thread is the point of view, and the slight unease that it can produce in viewers. https://www.michaelkellydewitt.net/contact daily 0.75 2026-05-14 https://www.michaelkellydewitt.net/photography daily 0.75 2026-05-18 https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1778884273647-406UDLY18MBIPXO37RUU/MichaelKelly-DeWitt_3+%28Bisected+Shadow%29.jpg Photography - Off-Kilter Architectural images. https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/04760b84-34cc-48f0-9e06-d65a0470538f/kelly_dewitt_passage_01.jpg Photography - Passage Images from the Capitol Corridor. https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/47301d63-6c89-4c94-b984-cb1e57ff6920/DSC05032%2C+BW1+Crop+1.jpg Photography - On Alcatraz Images from Alcatraz. https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779111902342-5UBK1O0WEO8MTROUIV2X/IMG_1035.jpg Photography - Looking Up, Looking Close (Nature) Images from the natural world. https://www.michaelkellydewitt.net/about-field-studies daily 0.75 2026-05-18 https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1778709417366-PRQA724HALQ0YOA0I1FU/0A4A7373%2C+BW1+Crop+2.jpg About Field Studies - About Field Studies Field Studies returns the human form to earth – to weather, to terrain, and to the vicissitudes of outdoor geography and place. The photographs presented here are a direct counterpoint to my studio work, which works by other rules: uniform backdrops, controlled light, the body considered in isolation as a problem of line and weight. In Field Studies, geography and place are doing half the work, and sometimes more. The images in Field Studies were made in a handful of environments: sandstone slot canyons in the Southwest, dried cracked earth, an open grassland under a moving sky, the still surface of a pond, and beneath the branches of a tree. Each location works with the human form differently. Sandstone frames the figure the way studio paper cannot – irregular shadow and organic texture pressed against skin. Cracked earth flattens into a graphic field, and the body folds into it like an ornament. Tall grass crops and conceals. Water reflects and reduces the figure to a torso above its reflection. I’m less interested in framing the figure on a landscape than I am with the idea of the figure embedded in one – the body returned to the natural elements that a traditional studio excludes. https://www.michaelkellydewitt.net/about-studio-form daily 0.75 2026-05-23 https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/1779325590771-XM0LN1LHUR0F7EBYEPVW/0A4A8585%2C+BW5+Crop+1.jpg About Studio Form - About Studio Form These photographs were made in the studio, almost always with a minimal set of tools: one or two lights, a backdrop, and now and then a plain object — a chair, a stool, a cube, a sphere — set against the human figure. the viewer’s attention settles on the figure, and on the way the light shapes it. I work in black and white because it lets me treat the figure first as an expressive form. A shoulder reads as a clean edge against the dark backdrop, and the run from hip to knee becomes a curve that is given sculptural form by the studio light(s). Some images showcase the whole human form – a model’s back arched into a taut line, the body’s weight shifted onto one leg. Closer in, the frame narrows to a clavicle, the long gradient of a torso, the muscles of a back under the studio light, until human anatomy reads like the natural terrain of a landscape. Other images set the figure in motion or in repetition via multiple exposure and the use of prismatic filters. In this work, I let the figure echo in the frame, fan into a row, or blur. In yet more images, the subject shares the frame with a single object. A chair, a pedestal, a smooth ball – each prop was chosen for its uncomplicated geometry, so that a straight line or a circle can press against the body’s curves and be a means by which to measure them. In some images, two figures are paired, where the subject becomes the space between them: limbs interlocking, one form supporting or mirroring another, the negative shapes as deliberate as the bodies that cut them. The visual aim of this work is controlled drama – rich blacks and fine gradations of white that generate atmosphere and mood. https://www.michaelkellydewitt.net/the-form-images daily 0.75 2026-05-23 https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/b9da3dfe-0ad8-42ed-9882-a2ed79730698/11.jpg The Form - Images - Poses https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/6f02a115-1a59-4c0d-b3d4-b496de0232f8/3.jpg The Form - Images - Line & Form https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/8d49a3b1-e7cf-4ae3-9eed-64085f648278/24.jpg The Form - Images - Multiplicity https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/2ff93bb2-00d4-4d73-85f8-a7d75ea8fbe9/15.jpg The Form - Images - Duets https://images.squarespace-cdn.com/content/v1/55e22cf2e4b02a7ba714d9ef/50549b94-bf6e-4e55-be05-3268c7d3a721/5.jpg The Form - Images - Props