Thank you @bob4, @Ed_McGuirk, @Tony_Siciliano, @Lon_Overacker, and @Bonnie_Lampley for your replies, thoughts, comments and warm welcome to my post! I appreciate each of your different perspectives and feedback, as well as each of you taking time to respond to my image and questions.
There are a few things I’d like to comment on, so I’ll try to do that in this one reply to all of you, rather than individually.
Ed, I am familiar with the photographers you mentioned, but admittedly I perhaps need to study them a bit more. One of things I do like, though, about the NPN community is the value and knowledge each of the members here brings to the landscape photography community in general…and especially that it’s not about the ‘shock and awe’ you mentioned. I’ve grown very weary of these kinds of images and sites, as well as the general public’s response to them. And, it really is not about getting ‘likes’ or follows for me. It is about making a statement and about expressing my own personal vision…regardless of what anyone else thinks. But, I also do want to grow as an artist, as a creative, and as a photographer. So, I do see the value in how this community differs from so many others in that regard, and it is a welcome change. Although, I’ve not had time to find and read the article by @Sarah_Marino yet, I will definitely do that. Thank you for sharing that bit of information!
Tony, I’m glad you like the image, and I appreciate your reference to the abstract expressionist painters. I do take a good bit of inspiration from the abstract expressionist artists and movement with the work I do. Thank you for your kind thoughts and response!
Lon, thank you for your thoughts and feedback, as well! I appreciate your warm welcome, and I look forward to interacting more with the community, also. I suppose playing around with camera movement is something a lot of photographers have likely dabbled with. But, for me, I have found it to be something I’m drawn to do more as a primary focus than as a secondary thought while out shooting the landscape. Honestly, it has been one of the most freeing things I’ve done with my photography, and it has been one of the biggest boosts to my creativity! Plus, I find it actually helps me ‘see’ differently when I do set out to capture the literal landscape. I started out doing ICMs on the tripod, as well, but once I took the camera off the tripod and started hand-holding and freestyling my ICMs, I grew by leaps and bounds with the work I began creating, as well as the vision I was trying to convey. I have tended toward sharing my work mostly in ICM groups, abstract groups, and other groups where a more creative approach seems more acceptable. But, I often find a lot of the images shared in those groups to be just what you described…cliche…or lacking any sort of real vision or intent behind the work. It does, admittedly, seem that ICM has become all the rage in a lot of ways…but, I personally don’t care for a lot of it. I do see a certain value in it, though, that I would like to see expressed with more intent and vision behind it in a way that complements the same kind of intention behind all the great landscape photography work out there.
Bonnie, thank you also for your feedback and thoughts. I’m glad to hear you’ve been trying some ICMs lately, and I would encourage you to keep at it. I’ve taken more than 60,000 frames of ICMs over the past two years, and my work and my vision have evolved tremendously in doing that much focused work. It has taught me that there really is no substitute for doing the work, and I’m grateful for the lessons ICM has taught me. I’m not sure I could or would have learned those lessons in quite the same way had I not made a conscious dedicated decision to pursue ICM as a primary focus with my landscape work.
Thank you again for all your thoughtful responses! I appreciate them all, and I look forward to more of these kinds of meaningful conversations across the gamut of styles in the NPN community!