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MorphA full-viewport photographic hang you scroll through forever. A dozen oversized prints stand on ONE straight line running away from the camera — each stepping right, up and back from the one in front, so the near ones are enormous and spill past the bottom-left of the frame while the far ones lie almost flat against the top-right corner. The hang is RIGID: every print is the same rectangle at the same angle, and a single perspective divide supplies the whole effect — the near ones lean about thirty degrees and the far ones lie flat, none of it faked per card, and because parallel planes cannot intersect the depth order can never go wrong. Each print carries the stretcher the yaw turns toward the lens: a warm bone edge along the top and the right, the top face grazed and the right face near square-on, so it reads as real canvas depth rather than a border. THE PAGE LOADS AS A HANG BEING PUT UP — the wall arrives one print at a time, nearest the lens first, each coming up from below carrying too much angle so you see its stretcher wide before you see the picture, then opening onto the shared rake as it takes its place; it ends composed because every print that lands is already in its final spot. Wheel, vertical drag or arrow keys CYCLE the line infinitely: the front print sweeps off toward the lower-left and a new one enters at the back, and the hand-off happens where the print is already outside the frame, so the wrap has no seam. Hover one and it pushes toward the lens and lifts out of the room's dark while the WALL LABEL in the left column becomes its label — title, location, year, and a caption that says what is actually in the frame. Click it and THE LINE PARTS: the prints in front run on down the line and off the bottom-left, the ones behind run up and off the top-right, and the split ripples outward from the work so the two halves peel rather than shunt as blocks — opposite directions at once, which is the one thing scrolling the hang can never look like. The work itself holds still while the line opens around it, because the reveal is the others leaving rather than the work arriving; then it squares up to the lens last of all and settles on its mark a hair too close before easing back onto it, alone with its full index line — body and glass, exposure, series. It is a CAMERA move as much as a card move: the perspective origin pans and the FOV widens, and because the mark is recomputed from the live camera every frame the print stays locked in the frame while the room moves behind it — a dolly with the subject pinned, not a card sliding over a backdrop. Everything is one blended pose per print on one requestAnimationFrame loop, so the whole thing is reversible frame-for-frame and never a lightbox; the cursor is hit-tested against each print's projected quad, so the target is the leaning print you can see, at the angle you see it. Click SETTINGS and a real camera panel drops in — draggable sliders for camera position, dolly and FOV, the shared yaw, roll and size, the cascade's march and the cursor parallax — every one a real term in the projection, with a live code read-out and a Copy Values button. Theme-aware (a near-black room, or a warm white cube where depth washes toward the room rather than to black), responsive by one decision made in the engine rather than by breakpoints a stylesheet guesses at — a portrait frame stacks the opened print above its label — and it honours prefers-reduced-motion, pauses off-screen, and owns the wheel while it fills the frame. Ships with a demo hang of eleven landscape photographs and a photographer's own index — title, location, year, body and glass, exposure, series — and a caption for each that says what is actually in the frame. The whole portfolio lives in one data file, so swapping the show is replacing the images and the text.
New
DimensionA photographer's works index built as a VORTEX that resolves into an endless CHAIN. Eleven photographs curl out of a single point at the centre of the screen and spiral outward into an evenly-spaced ring — each chip riding an angular swirl that unwinds as its radius grows, so the circle opens like a vortex decelerating into place, never a fan. The ring settles under the words ‘Works ’26’, breathing on a slow liquid undulation and drifting on an eased auto-spin, its chips linked by a single hairline thread, and it WAITS — no auto-advance, just a ‘Scroll’ cue in the corner. On the first scroll the ring zooms open and clears itself, handing the frame to a vertical chain: one photograph held full-size at the centre, the previous peeking in from the top and the next from the bottom, each linked to its neighbour by a slim coloured thread that inks its colour on as you arrive. Every scroll advances one work and the chain glides to re-centre; the rail is clone-padded so it loops FOREVER in either direction with no edge and no seam. The focus photograph is alive — a slow Ken-Burns drift and zoom, and a lift when the cursor is over it. The index of titles pins to the top-right and ticks the current work; the caption skews in like liquid — number and name to the left, discipline and year to the right — each time a new work lands. Click the centred photograph and it OPENS THROUGH AN IRIS: a circle grows out of the exact point you clicked, the photo counter-zooms as it fills the frame, and the editorial credit rises in line by line — title, discipline, year, a caption and the counter; click close or press Escape and the iris contracts back to the point it came from. On a phone the cards turn PORTRAIT and fill the screen, the focus card and its caption centred as one unit with the next card peeking off the bottom edge, and a swipe carries you through. Two palettes, light and dark, each with an ambient centre glow so neither is ever flat; no serif anywhere; a single physics loop owns the ring and the living photo while GSAP owns only the scripted beats — the spiral bloom, the shatter, the glide and the iris. Honours prefers-reduced-motion. Every constant, easing and timing is specified so it reproduces pixel-for-pixel.
BurstA cinematic, theme-aware curved video wall — three rows of landscape media cards laid on a convex cylinder: the centre column is head-on and closest, and each column steps around the cylinder, swinging out, receding, and rotating to stay tangent, so the sides angle inward and foreshorten. Because the spacing and each card compress together around the curve, the black gap between cards stays even the whole way around (a true cylinder, not a linear cover-flow that skews the edges and unevens the gaps). After any scroll the wall SNAPS onto the nearest slot — a card head-on at the centre — and rests still, so it never settles mid-angle. On load the wall arrives from the distance — the whole stage scales up from small while the cards light up ONE BY ONE, centre-out, each de-blurring from a soft blur (no spin) — and a thin top bar (wordmark + nav) resolves as a late beat. Every card carries its own title (category kicker over name). Under the hood the three rows are infinite rings: scroll, drag (1:1 grab with release momentum), or arrow-key and the rows ALTERNATE direction — row one travels right, row two left, row three right — each on spring-friction momentum with a whisper of idle drift, wrapping seamlessly around the back. Cards in motion smear with a fine motion blur written only to the leaf image (never a 3D ancestor, which would flatten the wall). There is no hover state — the cards simply sit, scroll, and snap to place. Click any card and it opens to a large centred full-frame view with its title, while the wall dollies up and dissolves behind it; Esc, the close button, or the backdrop reverses the move and returns it to its exact slot. ONE requestAnimationFrame clock owns every card's transform, opacity, z-index and motion blur; GSAP owns only the intro and the open/close zoom, on separate layers so the physics and the reveal never fight. Ships as a reusable component that takes any array of media (image, poster frame, or video) with a title and kicker. Theme-aware light and dark, keyboard-operable, honours prefers-reduced-motion with a still assembled wall, pointer-driven, and responsive — the curved wall holds down to a 390-wide mobile portrait.
New
Lens BloomA scroll-choreographed photoshoot reveal driven by a single timeline scalar. On load, a large two-word display-serif title fades in as a centred phrase, then the two words split apart while the photo cards appear one by one into a fanned row in the opening gap. Scroll or drag and the words fade out as the row gathers into one dominant, dead-centre hero card with the rest of the deck stacked behind and peeking at the top; a restrained editorial layer then rises in as a second beat — a roman-numeral name, a one-line description, and a fraction counter ringed by two concentric circles, joined by a hairline that draws itself from the name across to the number and softly lights the ring on contact. Keep scrolling and the deck advances vertically — the next photo descends from the top stack into the hero slot while the passed one drops away, each switch carrying a velocity-driven chromatic motion-streak; the name, description and counter cross-update. One requestAnimationFrame loop eases the timeline toward the scroll target and lays out every card, word and chrome element; a tween library owns only the one automatic load beat. Wheel, drag, arrow-key or swipe all drive it, and it lets the page scroll past at either end. A one-time bob after load and a persistent "Scroll or drag" cue teach the interaction. Below 768px it becomes an edge-to-edge full-bleed swipe gallery with a lift-to-reveal advance, a bottom-left caption over a scrim, and a thin progress bar. Theme-aware paper/dark stage, honours prefers-reduced-motion (composed, no auto-play), and pauses when the tab is hidden. Ships with a demo photo set — swap the files to use your own shoot.