Michael James Murray is known for his 360° Panoramic depictions of our perpetually changing world. He has exhibited throughout NY State, and New England, and his work is in numerous public and private collections.
Born in Rochester, NY, Murray is primarily self-taught. Murray’s career began in the mid-1990’s assisting commercial photographers in Rochester NY and New York City. In 2009 Murray began pursuing his own photography in earnest. He lives and works in Lisbon, Maine with his family.
2019 Terrestrial Portals New Hampshire Childrens Museum, NH
2017 Scene From The Anthropocene, Chashama, New York City, NY
2017 Blah Blossoms, ClampArt, New York City, NY
2016 Governors Island Art Fair, 4Heads, New York City, NY
2015 Bendheim Gallery, Greenwich Arts Council, Greenwich, CT
2019 Atelier VGI
2015 21st Editions
2018 National Gallery of Art
2018 University of Minnesota
2017 Insight Investments
2015 Columbia University, Avery Library
2015 Boston Athenaeum
2015 RIT, Carey Library
2015 Northwestern University
2015 University of California San Diego
2015 Williams College. Chapin Library
2014 Molton Capital
2013 NYU Langonne Medical Center
Gora, Jeff, Michael J. Murray: Inside My Art — 360 Degree Spherical Panoramic Photographs, Artistwaves, May 31, 2017
Hester, Jessica Leigh, Imagining Streets as Their Own Little Worlds, Citilab, September 12, 2016
My photography deals with the 360° panoramic space compressed into a spherical form. The lack of constraint made possible by the spherical 360° allows for in-depth explorations of objects, structures, and textures and how they relate in both the natural and manmade world.
I use the camera to investigate and analyze the spaces where man and nature intersect. By photographing the world this way the camera is omnipresent, allowing for an epic narrative of complexity and intricacy of an area to unfold. Whether it be the disorder of ancient ruins in Rome, the pristine skyscrapers of New York City, the densely kaleidoscopic geography of the American Southwest, or the rugged coastlines of New England.
What I enjoy most about my process is how I make my photographs. I never use the viewfinder of the camera to compose the image. I take note of the proximity of objects and structures to the camera. I’ve developed a sense of “echolocation,” I can “feel” if an object or structure in space is too close or far away and move the camera accordingly. I endeavor to feel consumed by the area I’m in. To make one 360° spherical panoramic photograph, I require at least 30 individual images. Atop my tripod is a high-resolution digital camera attached to a special mount. It ensures that each image is precisely aligned with the others surrounding it and that each image overlaps by the same amount. This is essential for the next step in the process. Because all the images are precisely aligned and they all overlap by the same amount, I am assured that the final composite image will be free of errors and will blend seamlessly. I use specialized software to organize and process my raw files and specialized software to assemble them into a finished image. Adobe Photoshop rounds out the process by allowing me to precisely adjust contrast, color, and tone. Recently I have incorporated a drone with a high-resolution camera to make aerial 360° Panoramas.
Michael James Murray