Photography by Greg Glau | About

Greg Glau is Associate Professor Emeritus and former Director of the University Writing Program at Northern Arizona University (NAU) in Flagstaff, Arizona.

Four of my photographs are now on book covers:

"Eye Candy" is on the cover of THE WPA OUTCOMES STATEMENT - A DECADE LATER (Parlor Press, 2012).

A version of "Vulcan's Delight" is on the cover of THE MCGRAW-HILL GUIDE TO WRITING, Special Edition for NAU (2013), and a different version is on the cover of "The Framework for Success in Postsecondary Writing: Scholarship and Application" (Parlor Press, 2017).

"Giovanina's Garden" is on the cover of A RHETORIC FOR WRITING PROGRAM ADMINISTRATORS, published by Parlor Press (2013).

I'm very pleased to announce that I've recently been named as the official photographer of Parlor Press (, so soon several more of my photographs will be book covers.

"Ice of Hearts" was used as a holiday card by the Dean of Northern Arizona University's College of Arts and Letters.

"Do You See What I See?" is on the cover of the summer 2013 issue of the literary journal, "Four Ties Lit Review."

And "My Hidden Meadow" was made into thick wallpaper and is on two walls (each about 18' x 10') at NAU's Ardrey Auditorium--it's amazing to see a photograph so large!

Daughter Trace and I just completed the "4th Annual Father-Daughter" art exhibit at La Bellavia restaurant in Flagstaff, Arizona. Other current exhibits include a display at Northern Arizona University's Bursars Office and at North Country Health (both with Greg Larkin). Greg L and I just "refreshed" those shows with new photographic art, so if you're in Flagstaff, stop in at North Country Health and/or NAU's Bursar's office and see our latest work.

Artist's Statement

In A Sense of Where You Are, John McPhee focuses on the career of the famous basketball player (and future Senator) Bill Bradley. McPhee writes that

Every time a basketball player takes a step, an entire new geometry of action is created around him. In ten seconds, with or without the ball, a good player may see perhaps a hundred alternatives and, from them, make half a dozen choices as he goes along. A great player will see even more alternatives and will make more choices, and this multiradial way of looking at things can carry over into his life.

I see photography in much the same way: photography is about nothing if not alternatives, and I very much like McPhee’s notion of a “multiradial” way of seeing things. Of course, most things that someone takes a picture of have been photographed thousands of times before. But I think that each photograph is unique, maybe only in some minor way, as always the light is different and the perspective is different and the range from the focal plane of the camera to the object being photographed is different. Each photograph, then, is an original. I try to find patterns or colors or shading or angles of view – and especially lighting – that make a particular photograph truly different and distinct.
I also believe that photography (as no other medium) captures moments in time, moments that exist only during that 1/60th or 1/125th or 1/500th of a second that the shutter is open. Anyone who’s taken a photograph of a child or a sunset knows this is true: everything changes instantly, and only the camera can capture those moments.

In terms of seeing differently and of capturing moments of time, I want to point specifically to some of my photographs in this exhibit. “Ice of Hearts,” for instance, existed as ice only for a brief period of time, and we’ll never see it again. In “The Bee,” I managed to capture a photograph of a bee heading toward a poppy in our daughter Trace’s yard, here in Flagstaff. I’ve taken thousands of other pictures of different bees and different flowers, yet “The Bee” caught something the others did not. And even in what could be mundane photographs of flowers and shrubs at the Desert Botanical Garden in Phoenix, I’d be hard pressed to catch again the lighting and shading in “Reds” or “Zen Moment."

I hope you enjoy my photographs.