Uelsmann began making photomontages in the 1960s. His work was perceived as a challenge to those American modernist photographers who used photography primarily as a recording tool, and valued the integrity of the negative above all else. In this photograph, Uelsmann had seamlessly combined two negatives. Often blending human, animal and inanimate forms, his photographs defy rational explanation, in preference for a world of fantasy and hallucination. Photographs such as this anticipate the current age of digital photography and manipulation.