As camera movement becomes more familiar, there is a temptation to keep producing rich, complex surfaces. This time, I intentionally went in the opposite direction: one patch, just a few fields of color, and a lot of empty space.
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Leaves, Sunlight, Pine Needles (series of 3)
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Archipelago. Sunset
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The same place
One image records what I saw. The other records what happened when I stopped treating the camera as a tool of description and started using it as a tool of gesture.
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Understanding ICM
Intentional Camera Movement (ICM) is the technique I work with most extensively, but using it also made me question how little of it has been clearly defined beyond camera settings and visual effects. This three-part series of articles was my attempt to understand and systematize the technique from within my own practice: where effect ends and technique begins, what allows an image to survive camera movement, and why ICM still struggles for legitimacy as a photographic form.
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Cutting off sunlight
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Moment of Nothing
Where there should be so much, there is nothing. No traffic, no sea or islands, no visible sky or sun, almost no color. Just a still, lost highway.
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Sun Blade
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Index of Presence
The camera movement follows the rhythm of the architecture, shifting the street into abstraction while leaving fragments of the visible world intact.
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On the bottom of the sea
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5 Things Photographers Start Noticing After Seriously Studying Modern Painting
Most photographers reach a point where making technically better pictures no longer changes much. The camera works, your technique is solid, and the world starts to look familiar. One way out has little to do with photography. Time spent with modern painting changes what you notice before you press the shutter by exposing decisions the camera normally makes for you without asking.
