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Abstract / California / ICM / Impressionism / Photo Log / Photography


August 4, 2020 — Berkeley, California

Exploring new realms of minimalism in Intentional Camera Motion.

(Nikon D500 Tamron 100–400mm f/4.5–6.3 Di VC USD. RAW processing in DxO PhotoLab 3.3; Editing in Adobe Photoshop.)

The Author

California based fine-art photographer featuring abstract, impressionist, and minimalist seascapes — near and distant — and floral-based images. Fine-art photography can be seen at All original images on this blog are copyright 2018, 2019, 2020, 2021 Michael Scandling. All rights reserved. No images on this site may be copied, duplicated, reused, published, or re-purposed in any way without express permission from the copyright owner, Michael Scandling.


  1. It occurred to me just the other day that minimalism could (or maybe should) appropriately minimalize itself to minism. Calculus teachers speak casually of the max and min of a function, though they don’t intentionally move any functions the way you did your camera.

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  2. This is certainly a different approach to you minimalism abstracts. I find it very interesting with the separation of the diagonal as something solid as well in all that softness.


    • Thank you. This is something I just realized last night: I was about to post another ICM picture from the same shoot as “What’s This?” I decided not to because although it was full of interesting visual phenomena, there was no actual picture there. This picture actually has less going on than the one that I decided not to post, but it’s a far better picture. I could probably develop an entire philosophy based on this, but I’m a simple soul. This will do.

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      • If I get what you’re saying, I think it’s similar to noting the difference between an image that interests you (as the photographer) because of your own predilections and an image that moves the viewer, because “there’s a picture there” – i.e. it says something. I am fascinated by all sorts of things I see but some photos will only appeal to people with the same interests (say, odd lichens) while other photos go farther and touch the emotions. I struggle with sorting these different types of images out.

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      • Here’s what I think: as we get away from images that are purely representational toward images that are more expression it’s still a matter of, “is it a picture?” in many cases. But not at all cases. I very much admire Mark Rothko’s work, but I don’t think I could say “it’s a picture.“ But I think I can say that it is a pure and completely presented expression. The key element here, I believe, is communication. If the intention is to communicate something that will have a definite intellectual or emotional (or some combination of the two) effect, then it has worked in some sense. What I was working on last night and decided not to post was not a pure expression. Perhaps one reason for that is that there was nothing particularly to focus on. Therefore it dispersed attention rather than giving something to look at. The jetty gives an anchor to all the rest which is simply soft gradations of color. I have seen lots of pictures of lichens. Many of them are just clinical. This is what this particular lichen looks like. Yours, on the other hand, show form and texture and rhythm and tone that creates a complete expression that goes, at least for me, beyond simply a clinical description. There’s art. There’s something to look at for longer than just a glance. There’s something that informs beyond a mere description. But there is something there. With what I was working on last night, there was nothing there.

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  3. Attitude’s important, but so is altitude. I live very near the Texas City dike, a 5+ mile long fishing pier that’s the longest man-made pier in the world. There are a few aerial shots of it online, and a couple are very nice, but this is a remarkably artful look at such a structure. I like it, very much.

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