Football Placement Kick, 1934.The picture is built from the ground up, and almost nothing in it stands above the knee.
Swirls and eddies of a tennis stroke, 1939.The frame is almost entirely black, and that blackness is not absence but method.
Action at the Rodeo, 1940.A bronc twists at the height of its buck, all four legs wrenched off the dirt, mane flying, while the rider rises clear of the saddle with one arm flung overhead and the other braced low.
A Girl and her Horse, 1941.A young woman stands erect on the back of a galloping horse, arms flung into a wide V above her head, palms open to a darkness that swallows everything but her.
Tennis Serve, 1952.Against pure black the camera has counted what no eye could keep pace with: a single tennis serve splayed into a fan of perhaps twenty rackets, each oval head a distinct rung climbing into the…
30 Caliber Bullet Piercing an Apple, 1964.A red-and-gold apple sits skewered on a spent brass cartridge, which in turn rises from a plain block of varnished wood, the whole modest apparatus set against a flat blue ground.
Cutting the Playing Card Quickly, 1964.The picture divides cleanly into two unequal events.
Pole vaulter, David Tork, 1964.One vaulter becomes a sequence. A single sheet of film holds perhaps a dozen David Torks, each a discrete pulse of the strobe, climbing a diagonal staircase from the lower left of the frame to the…
Shock Waves from Impact, 1965.A dark ovoid enters from the left, its blunt nose already past contact, and meets a slender vertical rod that bisects the frame top to bottom.
Vortex at a fan blade tip with Kim Vandiver, 1973.To photograph is to make visible what the eye, left to itself, would never concede exists.