When Maine Begins to Move

The coast of Maine is one of them.

Water moves against rock. Boats rise and fall in the harbor. Grasses bend in the wind. Waves dissolve into foam, reflections break apart and reform, and the rugged coastline provides the strong shapes and textures that can anchor an image even as everything else begins to move.

It is the kind of place where ICM and multiple exposure can take us well beyond simply recording what is in front of us.

With intentional camera movement, the camera itself becomes part of the creative process. A small movement can soften reality; a larger one can reduce a scene to line, color and gesture. The goal isn’t simply blur. It is learning how movement changes the visual language of a photograph and eventually being able to make those choices intentionally.

Multiple exposure asks us to think differently. Instead of finding everything we need in a single frame, we begin looking for relationships: how one exposure might strengthen another, how shapes, textures and colors can interact, and how the familiar can become something more expressive.

And you don’t need a camera with in-camera multiple exposure to explore those possibilities. Some photographers create their multiple exposures entirely in camera, while others photograph the individual elements and bring them together later. We’ll work with both approaches, including the fundamentals of creating double and multiple exposures through compositing.

These are the things I love to teach.

This fall I’ll be teaching them during five classes in Maine. But we won’t be spending all of our time inside talking about photographs. We’ll also be going out together to photograph along the seashore, around boats and harbors, on beaches and along that wonderful rugged Maine coastline.

Because there is an enormous difference between understanding a technique and standing in front of a scene asking yourself:

What can I do with this?

That’s where the real learning begins.

We’ll work with ICM in the field, experiment with multiple exposure, explore creative possibilities in post-processing and, most importantly, spend five days looking at the world with the question that sits at the heart of creative photography: What else is here?

I actually hadn’t planned to tell you about this workshop.

It sold out months ago.

But one of the participants has just had to cancel, which means that unexpectedly, one place is now available.

So, I thought I should at least tell you.

If you’ve been following my work here because you’re interested in moving beyond literal photograph - and you’d like to spend five days experimenting, learning, photographing and creating together on the coast of Maine - perhaps that empty chair has your name on it.

Maine Workshop – September 27 – October 1, 2026

And if Maine isn’t in your plans this fall, I hope you’ll try something the next time you’re out with your camera.

Don’t just ask, What do I see?

Ask yourself:

What else could this become?

www.roxanneoverton.com