many of his images became more and more abstract. Although he felt strongly about the particular groupings of his images, in his early sequences he purposely did not prescribe a specific order for how they should be presented. He said he wanted his sequences to be subjective interpretations, and as such he wanted viewers to gain insights into themselves by allowing them to contemplate his work as they saw fit. This concept was limited to those viewers who were part of his workshops and teachings, where they could handle the prints individually rather than see them in a gallery. Later, as he became more interested in anthropology and myth, he began to experiment with how individual images influenced a viewer by how they were presented. In a work he called Totemic Sequence, composed of 10 photographs, he included the same image as both the opening and the closing picture. The last picture is the first picture turned upside down. White felt that this change illustrated the simultaneous reality and unreality in a photograph. The title he gave to the first image was "Power Spot." White wrote extensively about his thought about sequences, both in his journal and in articles. In his journal he wrote "The photographs in a Sequence or Constellation may be compared to a dance or theme. The major points of the whole are stated and restated with variations until the very last member of the audience has encountered it or them." He also wrote "Sequence now means that the joy of photographing in the light of the sun is balanced by the joy of editing in the light of the mind." During his lifetime White created or planned about 100 groups of his photographs, including sequences (with multiple versions), series and portfolios. Many were named simply "Sequence" followed by a number, but for several he added artistic titles that reflected his ideas that photographs represent more than their obvious subject matter. Some of his major sequences are: Song Without Words (1947) Second Sequence: Amputations (1947) The Temptation of St. Anthony Is Mirrors (1948). This sequence is White's most personal body of work, composed entirely of photos of a model at CSFA named Tom Murphy. The 32 images include intimate portraits and figure studies, many of which showed Murphy's frontal full-nude body. At the time it was illegal to either exhibit or publish images that explicitly showed male