From the union of these two types of image additional layers of information emerge. The sports heroes are removed from the confines of the arena and transplanted to the great outdoors. Transplanting them transforms them into couples, separated from the other members of the team and their audience, allowing them to experience nature together. The sports figures always have physical contact with each other. Their combined motions become spiritual, sensual, graphic—heroic in a more complex way, and suggestive, even, of a kind of rugged individualism.Flipping the cutouts of the athletes removes these individuals from their print-media origins and places them into another reality. The concentration is on shape, gesture and color. The original shape of 2 cutout players, always touching and without the inclusion of the ball, remains; however, this layer now becomes about the delivery of images without referencing a specific sports player, sport or team. Most importantly, using the flip side allows me to peel back the surface layer of the spectator sporting moment and reveal snapshots of sports information passing back and forth that informs sports photography culture.Although the sports figures’ scale is large in relation to that of the landscape, the sports figures are also humbled by the landscape. As big as the players may be in their professional context, they can never attain the scale of the great outdoors on their path towards becoming rugged individualists.