Bruce West's images represent daily life suddenly and massively interrupted — a family's scattered snapshots in a vacant house; a ruined organ in the wreckage of a church; a clock in the rubble showing the time Katrina came ashore. Nothing in these color photographs indicates that the devastation had occurred a year earlier; the damage appears recent.

Todd Bertolaet looks at the larger-scale Gulf Coast landscape in the wake of Katrina. He photographs in black-and-white with a 4x5-inch view camera, which requires great patience but yields extremely sharp and detailed results. Bertolaet sometimes employs collage techniques, adding postcards and other ephemera, smaller color photographs made with a digital camera, and his own pen and ink drawings and commentary to make a composite image.

David Wharton's photographs focus on the destructive power of Katrina and the slow pace of clean-up and reconstruction in the year after the storm. Many of his pictures emphasize the chaotic nature of the post-Katrina Gulf Coast landscape, along with the difficulties of restoring human-made order. He prefers to photograph using black-and-white film; for him, color pictures show the surfaces of the visible world, while black-and-white images reveal its structure, the way the world is put together — or, in this case, the ways it came apart.