In literature, water often sustains life. It feeds the thirsty. Thirsty humans, animals and plants. In rivers, it flows past us in a strong steady current, often signifying our journey through life. Other times, arriving in storms it taketh away. Floods overpower human settlements and people. It kills.
What does this ocean image say to you? Is it dangerous and menacing, or does it bring you peace?
Fresh white dogwood blossoms against a deep blue sky add up to brilliant Spring day. This presentation, a photo with intentional camera movement, combines white, blue and green colors as well as the organic shapes in a unique way.
I love the painterly ripples around the outside of the swirl. This image is asking to be made into a large metal print. How does it make you feel?
I continue to practice ICM (intentional camera movement) while I have easy access to sunsets over the Gulf. I love to see the sunset through this unique lens: the horizontal lines blurred to the point of near abstraction and the colors enhanced in vibrance and contrast. I was attracted to this image because of the criss-crossing lines of the waves. Comparing fiction and fact, painting and photography, I like to say, “you can’t make this stuff up.” Compare this image to the sunset ICM image in my previous blog. How would you compare the mood of each?
I continue to experiment with ICM (Intentional Camera Movement). A good subject is one with strong contrast and strong vertical, horizontal or circular lines — any lines that can be accentuated with camera movement. Last time, I used a vertical subject, trees reflected in a pond, and this time I used the strong colors of sunset over the Gulf of Mexico.
I like the peace and serenity of the selective blur. I also find myself studying longer the colors and lines and the blend of hues. Here you can compare the the ICM image with the still photo. Do you find the ICM image more moody? Which image do you prefer to look at longer?
I did minimal processing to the ICM image: just some tweaking of the contrast, clarity, vibrance and highlights and some spot removal. The streaking effect was achieved by moving the camera during a .6 second exposure. To lengthen the exposure, I lowered the ISO to 100 and closed the aperture down to f/22.
Experimenting rewards my desire to create, because every image is different. Will I find a market for this genre?
Yesterday in a Florida swamp, I recognized an opportunity to try a new style (new to me): Intentional Camera Movement (ICM). It was late afternoon, and the sun was behind me as I gazed across a pond at a placid scene of trees and brush reflected in the still pond. Admiring the sunlight on the vertical lines of the trees, elongated into their reflections, I suddenly realized that I could make an interesting graphic by moving the camera vertically while exposing as long as possible.
Since I had been working on shooting a bird and some otters across the pond, I had the equivalent* of a 300mm f/ 2.8 lens mounted on my D800. This was a good choice to switch to ICM, because, as you may know, it is pretty easy to blur a shot made with this lens if you are shooting handheld! I set my camera aperture as small as possible (f/32) in order to generate a slow the shutter speed (1/6th second) in Aperture Priority mode. This would set the shutter to be open long enough to create a vertical blur as I moved the camera. I recalled that I should begin the camera movement before pressing the shutter and keep an even movement speed. I experimented with about 6 images, and of course each one was a little different.
This one was my favorite for a few reasons: 1) Camera movement was truly vertical so the vertical lines of the trees are emphasized. 2) I like the color palette of blue, green, white, yellow and brown. 3) I like the tonal contrast and the mirror effect created by the shoreline. 4) My overall impression is that I would not tire of looking at this image. I think it would look cool in a home or office — especially as a metal print. Do you?
*Nikon 70-200mm lens with Nikon 1.5 teleconverter.