In the early 1970s, Heinecken began using photographic emulsion on canvas to produce hybrid photographic paintings. For Figure Horizon #1, Heinecken reprised the cut-and-reassemble techniques from his puzzles and photo-sculptures, sequencing sections of the nude female body (bought from a mail-order company that sold pornographic film negatives) like a filmstrip to create impossible, undulating landscapes. Other works from the Figure Horizon series are printed on transparencies in multiple sizes and displayed in a variety of ways, including pinned to the wall (such as Kodak Safety Film/Figure Horizon). “The idea of combining photographs with other media is sometimes a little difficult to swallow for those of us who have been concerned primarily with the beauty and meaning of the photograph itself,” Heinecken wrote. “However, a fragment or section out of the objective world has great potential when combined with elements from the imagination. A curious kind of Gestalt results because of the ambiguous combination of credibility and deception.”