Intentional Camera Movement...
Discussion
Recently I've started seeing quite a few people in Facebook camera groups posting blurred images with the heading "intentional camera movement".
Whilst I sort of understand what they're trying to do, every single one I've seen, without exception, would be better labeled "blurred mess" before being discarded!
Has anyone seen any good examples of what people were actually trying to achieve? The first ones I saw were around early April so I initially thought they were April Fool's jokes, but they've carried on, so I assume there must be more to it than this. I'm not a great fan of black and white images, but at least I can completely understand why people take them, and have seen some that are absolutely stunning, but this ICM stuff just leaves me completely: confused:
Whilst I sort of understand what they're trying to do, every single one I've seen, without exception, would be better labeled "blurred mess" before being discarded!
Has anyone seen any good examples of what people were actually trying to achieve? The first ones I saw were around early April so I initially thought they were April Fool's jokes, but they've carried on, so I assume there must be more to it than this. I'm not a great fan of black and white images, but at least I can completely understand why people take them, and have seen some that are absolutely stunning, but this ICM stuff just leaves me completely: confused:
I guess skill is in the eye of the beholder....
https://andrewsgray.photography/latest-work
Looks like a load of smudges to me.....
https://andrewsgray.photography/latest-work
Looks like a load of smudges to me.....
Cloud forest abstract by Lewis Craik, on Flickr
This is the only one of my images where I feel that it has worked. We did have it printed on canvas and on the wall for a few years, but have no idea where it is now.
GiantEnemyCrab said:
I guess skill is in the eye of the beholder....
https://andrewsgray.photography/latest-work
Looks like a load of smudges to me.....
He's not the king. He's a very . . . https://andrewsgray.photography/latest-work
Looks like a load of smudges to me.....
My favourite artist is Turner. I could look at his paintings for hours.
Some of Gray's images are Turneresque, and they look quite pleasant. I've seen photoshopped images made to look similar. Yeah, nice.
If they were called Turneresque it would be more 'honest', but they would still be inferior to a Turner print. These are bright but poor imitations.
_Hoppers said:
Those are quite nice. As Derek says I still don't think they're a patch on painted art, but they're certainly orders of magnitude better than anything else I've seen.Kermit power said:
_Hoppers said:
Those are quite nice. As Derek says I still don't think they're a patch on painted art, but they're certainly orders of magnitude better than anything else I've seen.GiantEnemyCrab said:
I guess skill is in the eye of the beholder....
https://andrewsgray.photography/latest-work
Looks like a load of smudges to me.....
Not my kind of thing but I can certainly see some artistic merit there. The sort of thing that looks good as a very large piece on a huge white wall in a massive and modern house.https://andrewsgray.photography/latest-work
Looks like a load of smudges to me.....
Surely this has "been a thing" for quite a while? I seem to recall messing about with the idea of 'pan and zoom' in the 1990s with 35mm SLRs.
No idea where my old prints are but I remember getting some very unintentional camera movement on exercise in Canada in (I think) 1993. I'd set up my tripod alongside my "little tank" where I knew a full battle group was going to come tearing along through an obstacle crossing we (Royal Engineers) had created. I thought I'd be OK with high shutter speed and a tripod, but Challenger tanks have rather different ideas when it comes to photography. The tripod can be as solid as a rock, but to avoid blurring you need to come up with a reliable method of preventing the ground from shaking!
I've also had some "interesting" results on night photography sessions. What tends to happen is that I shoot a bunch of longer exposure frames using the ten second timer. Then I take the camera off the tripod for some hand held work but forget that the exposure is set long and the shutter opening is delayed by the timer. I press the shutter release, wait for something to happen, then wonder if the camera is broken so wave it around a bit, only for the timer to tick down and open the shutter for whole seconds while I'm waving the camera around near some artificial lights. One or two have even looked vaguely acceptable, almost aesthetically pleasing.
No idea where my old prints are but I remember getting some very unintentional camera movement on exercise in Canada in (I think) 1993. I'd set up my tripod alongside my "little tank" where I knew a full battle group was going to come tearing along through an obstacle crossing we (Royal Engineers) had created. I thought I'd be OK with high shutter speed and a tripod, but Challenger tanks have rather different ideas when it comes to photography. The tripod can be as solid as a rock, but to avoid blurring you need to come up with a reliable method of preventing the ground from shaking!
I've also had some "interesting" results on night photography sessions. What tends to happen is that I shoot a bunch of longer exposure frames using the ten second timer. Then I take the camera off the tripod for some hand held work but forget that the exposure is set long and the shutter opening is delayed by the timer. I press the shutter release, wait for something to happen, then wonder if the camera is broken so wave it around a bit, only for the timer to tick down and open the shutter for whole seconds while I'm waving the camera around near some artificial lights. One or two have even looked vaguely acceptable, almost aesthetically pleasing.
yellowjack said:
I've also had some "interesting" results on night photography sessions. What tends to happen is that I shoot a bunch of longer exposure frames using the ten second timer. Then I take the camera off the tripod for some hand held work but forget that the exposure is set long and the shutter opening is delayed by the timer. I press the shutter release, wait for something to happen, then wonder if the camera is broken so wave it around a bit, only for the timer to tick down and open the shutter for whole seconds while I'm waving the camera around near some artificial lights. One or two have even looked vaguely acceptable, almost aesthetically pleasing.
That's something I do at parties - sort of. Using a flash, I move the camera around before and after releasing the shutter. The flash freezes the primary subject but you get some interesting light streaks and movement in the background. Completely trial and error - out of ten shots you might get one that works.StevieBee said:
yellowjack said:
I've also had some "interesting" results on night photography sessions. What tends to happen is that I shoot a bunch of longer exposure frames using the ten second timer. Then I take the camera off the tripod for some hand held work but forget that the exposure is set long and the shutter opening is delayed by the timer. I press the shutter release, wait for something to happen, then wonder if the camera is broken so wave it around a bit, only for the timer to tick down and open the shutter for whole seconds while I'm waving the camera around near some artificial lights. One or two have even looked vaguely acceptable, almost aesthetically pleasing.
That's something I do at parties - sort of. Using a flash, I move the camera around before and after releasing the shutter. The flash freezes the primary subject but you get some interesting light streaks and movement in the background. Completely trial and error - out of ten shots you might get one that works.Tony1963 said:
Intentional camera movement? Ha!
My pic, Tiff, Thundersports support race at 1986 British Grand Prix
That's a great shot, but one which makes me think maybe this trend would be better named Intentional Subject Movement!My pic, Tiff, Thundersports support race at 1986 British Grand Prix
After all, you've used the tried and tested approach of panning to stop your subject from moving.
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