Sometimes the strongest visual concepts don’t illustrate an idea—they immerse you in it.

The Wrong Way Home, a four-band tribute to Supertramp, began with a simple inversion of the band’s song “The Long Way Home.” That subtle change transformed the title into something emotionally different. “Wrong” suggested not just getting lost, but the quiet uncertainty of moving through unfamiliar places without ever quite arriving.

Rather than illustrate the songs themselves, I built the package around that emotional landscape. The typography subtly reinforces the idea—each appearance of WRONG is inverted—while a series of photographs taken throughout Chicago traces the architecture of transition: train platforms, escalators, hotel corridors, bars, airport terminals, elevators, and directional signs. These are places people move through rather than places they inhabit.

With one exception, people are almost entirely absent. Even on the back cover, where travelers pass one another on an airport moving sidewalk, they remain anonymous, disconnected, and in motion. The environments become the true subjects, carrying the emotional weight of the project.

Looking back, I realize I wasn’t photographing Chicago so much as photographing liminality. Every image suggests movement without arrival, direction without certainty, and proximity without belonging. Together, the photographs and restrained typography invite the listener to experience the album’s title rather than simply read it.