I began moving the camera as a way of having fun with images – just to see what would happen. 10,000 images later, like the man who discovered that all along he had been speaking prose, I found that I was no longer just playing around, I was a practitioner of the art of ICM – “Intentional Camera Movement” photography.
These pictures use lights as luminous brushes and the camera as a canvas that moves. Lights, color, space, reflections, lens, motion, timing, rhythm, and the emotional quality of the movement interfuse with the electronics of the camera in unpredictable ways to produce images that range from beatific to weird.
In some cases, I crop out a piece of a picture and fold it to bring out the symmetry it implies. “Emerging” is an elaborate example of this symmetry. Other images appear unaltered, just as the camera produced them – like the radiant Sun-Eye pair.
I use the camera in an unusual way, but I do not invent these images. They are pictures of things that are really there. This grounding in tangible reality helps save me from the trendy stereotyping that sometimes arrives at the studio dressed like creativity.
I spend long periods wandering around inside these images, learning what they are, how they came about, what they express. This wandering through visual space has given me time to think about how art cultivates contemplative unknowing – unplugging from the mind’s endlessly helpful categorization of experience.
In its heart, everything is a mystery — and evocative images help us explore that mystery, and celebrate it. Such images help us un-examine, un-know, and re-see.
We are always surrounded by beauty, form, and energy beyond our imagining. We are always emerging from the deep space of unknowing.
These are photographs of
(what are all photographs of?)