There once was a photographer who worked for The Orlando Sentinel who felt that his mission as a photographer was to be the "fly on the wall." He would be inconspicuous and would not, in any circumstances, suggest a pose to a subject or influence the situation in any way. And when he wanted to put down another photographer, he would call them an "illustrator."

After a short and unhappy time, the photographer and the newspaper parted ways. He went to another newspaper. I was hired to replace him. I come from a traditional newspaper background, but was also eager to learn how to make all of the images the newspaper needed, insuring a secure job. That included learning how to create controlled, concept photos called illustrations.

One fashion model and four outfits can be a bunch of little photos, or one large photo with all the elements. I mounted the camera on a tripod and had the model pose in different areas of the studio. The images were combined using digital imaging.

For a story on forecasting the future of housing trends, I wanted to create a crystal ball effect. After searching for a real crystal ball, I realized that I could created the effect in the computer using Photoshop filters. This image most resembles the work of Jerry Uelsmann.

Many photojournalists are uncomfortable with illustrations. A common argument is that created images should not be published in the same newspaper where we publish unposed, "moment" photos from the news. The readers, the argument goes, won't be able to tell the difference between the truth and the illustration.

At my newspaper, we run photography-based illustrations to illustrate stories that don't lend themselves to documentary styled photojournalism. Since I now work primarily for our features sections, I am often asked to make these illustrations. Some of the more common assignments are bard and fashion illustrations, but sometimes we need images to go with high-concept stories.

In years past, I would use multiple exposures or darkroom printing tricks or simple cutting and pasting to blend images for an illustration. When doing these illustrations today, I often use computer programs to composite and blend images. The digital imaging allows me to blend the images more smoothly and gives me more leeway in making creative decisions.

I have found that I draw my inspiration and instruction in illustrations from the work of commercial and art photographers and not my brethren in photojournalism. One of my strongest influences has been Jerry Uelsmann, an art photographer from the University of Florida. His work taught me that the most effect multiple exposures are the ones where the viewer can see all the tricks. He compares it to a strawberry where all the seeds are on the outside. I like the honesty of this approach.

I have also found that working with illustrations, including fashion and bard photography, has improved my work in the uncontrolled work of "on the street" photojournalism. I can recognize good lighting, interesting composition and important juxtapositions quicker because of my experience in the studio.

This illustration may be a bit too busy and arty for a typical newspaper illustration, but I liked the junky, scrambled look for a story on yard sales.

I know that this kind of work doesn't appeal to many photojournalists. Some don't like it at all. Others don't respect the work involved and still others post crusades against illustrations. For these photographers "illustrator" is truly a most grave insult. For me, I look at it as being well-rounded and employable.

There are no computer tricks in this illustration. We preprinted the cover of the magazine so It would fit inside a gift box. The resulting effect was used for a gift guide issue.

Many images were combined to illustrate a story on income tax advice for homeowners, including a calculator and my tax forms from home.

For a story on home foreclosures, I worked a "going down the drain" metaphor into an illustration.