In the series of works entitled “Thoughts of a Night Sea,” 2000, Garry Fabian Miller seems to be returning to the nineteenth-century origins of photographic technique. In fact, he uses neither camera nor film but works in the darkroom directly with light and with paper prepared to receive its impression. The horizon between sky and sea has long been his favored motif. In his earlier series titled “The Sea Horizon,” 1976–77, there was a real referent, the Severn River estuary, but here, the luminescent horizontal strips that gather at the center of the image do not correspond to anything real.