Coming across prescribed burning for the first time, I was completely unsure of what I was looking at and why it was done. And though it seemed counterintuitive, there must have been a reason for it. As my interest grew, I developed a relationship with a group of prescribed burn technicians, and have had the privilege of walking alongside them since 2017. As the project progressed, my initial uncertainty about the presence of fire in a landscape was the feeling I sought to evoke. In teasing out that uncertainty, and embodying the act of looking and moving, there are many sequences, repetitions, and formal elements operating in this work. Sequences of pictures with similar fields of view create subtle movements in space, expanding the implication of the environment while implying bodily movement. Repetition in the series calls to mind the act of walking a familiar place over and over again, of seeing similar objects or patterns that change gradually every day, and call memory into question. The horizon line is a very important formal aspect of the work. Its tilting, rising, and falling give the landscape an uneven and fluid quality, like the undulating smoke or of fire rolling in the wind. The presence of fire is not immediately, literally depicted in the sequence. It is withheld in order to allow the viewer to settle into the space. As it gradually appears, it feels like an element that reveals itself on its own terms. The entire sequence of photographs has a cyclical structure, encouraging the viewer to revisit the experience, and imbuing the photographs at the beginning of the book with the suggestion of fire as underlying the entire experience of the book.