McFarland’s crystalline, hyperreal images derive from a laborious technical methodology, in which he exposes multiple large-format negatives at a given scene, digitizes them and painstakingly reassembles the images into a seamless, cohesive composite.


The resulting image is one that leverages Realist aesthetics in service of imbuing the work with the long-held notion of photography’s  indexical 'truth', while simultaneously disavowing it by doing away with the singular 'decisive moment’.