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Posts Tagged ‘Movement’’

How to Take Creative Landscape Shots Using Intentional Camera Movement

21 Feb

The post How to Take Creative Landscape Shots Using Intentional Camera Movement appeared first on Digital Photography School. It was authored by Richard Beech.

how to take creative landscape shots using intentional camera movement

If you’re looking to capture some unique, creative photos, then I highly recommend trying out intentional camera movement photography.

Now, many photographic situations rely on ensuring your camera is still as possible during exposure for pin-sharp images. But is keeping your camera still always a good thing?

Instead, why not throw caution to the wind, move your camera while the shutter is open, and explore the range of creative opportunities this offers you as a photographer?

In this article, I’ll show you how to do exactly that!

What is intentional camera movement and why should you use it?

Intentional camera movement (or ICM for short) is a photographic technique where you move the camera as the image is taken.

bluebell woods intentional camera movement

One example of ICM is panning. The camera follows a moving subject in order to keep the subject sharp and the background blurred.

But while panning can get some great results, it’s actually a pretty tame form of ICM. Moving your camera during the exposure can open up many more creative options for you to try out.

In particular, intentional camera movement can be used to take some truly unique landscape shots. The technique can be exceptionally liberating, and by reducing the number of sharp details in a landscape, it allows you to concentrate on line, form, and color in your images.

In fact, with ICM, a scene that you may ordinarily consider too cluttered might just come to life – by letting you blend colors and shapes for an interesting abstract shot.

intentional camera movement on a beach

One of the reasons I have grown to love ICM is that it enables you to capture a landscape in a unique and personal way that cannot easily be reproduced. It can even breathe new life into overly familiar scenes, letting you see and capture something unique about a location you may have photographed many times before.

If you’re struggling to find inspiration for your next photographic project, or you want to get your creative juices flowing, intentional camera movement is a technique that you should try at least once.

In fact, it’s relatively easy to take some striking shots with ICM.

Plus, it can be a lot of fun!

So let’s take a look at how intentional camera movement photography actually works:

The best settings for intentional camera movement photography

A key factor to get right when using ICM is your shutter speed.

You see, the exposure needs to be long enough to capture significant motion blur (though different shutter speeds will give different effects).

In general, I recommend anything from 1/3s or 1/2s all the way down to multi-second exposures. Of course, you’re always free to experiment with faster or slower shutter speeds; the core of a creative technique like ICM is simply playing around.

Because of these lengthy shutter speeds, shooting in low-light conditions is ideal for ICM. During the daytime, it can be harder to achieve the required shutter speeds, even at your camera’s lowest ISO setting and your lens’s smallest aperture (i.e., highest f-stop number).

If you do decide to shoot in the day, you may need to use a polarizing filter, a neutral density (ND) filter, or a combination of both. Personally, I prefer to use a polarizing filter as a starting point, as this helps to boost colors and cut down on reflections and glare. I will then add a 2-stop or a 4-stop ND filter if the shutter speed needs to be slowed down any further.

When starting out with ICM, it can help to shoot in Shutter Priority mode. Set the shutter speed to around half a second to start, then turn the ISO to the lowest available setting on your camera.

intentional camera movement abstract

Once you have practiced at this shutter speed, you can use longer exposure times thanks to a combination of low light and filters.

Make sure you focus manually in advance, and turn off the autofocus to prevent the camera from searching for focus during the long exposure.

Also, if you are using a lens that has image stabilization, remember to turn this off.

How to move your camera

Once you have taken control of the shutter speed, the next step is to determine how you’ll move the camera after pressing the shutter button.

Get creative; there are no rules! You can move the camera vertically, horizontally, or diagonally. You can move it fast or slow. Alternatively, you can rotate the camera 360 degrees to create a spiral effect, or change the focal length on a zoom lens during exposure to create a zoom effect.

tree at sunset ICM

With practice, you can combine two or more of these movements to create something truly unique. The look and feel of your final images will be determined by the speed, direction, and smoothness of your chosen movements.

Note that you can always use a tripod to control the camera movement. This will help you to capture a smoother result, which can be useful if you wish to retain a straight horizon line.

(Personally, I prefer to work handheld when moving the camera, as it offers greater flexibility and provides more opportunities to experiment with different movements.)

Bold movements can sometimes be more effective, as there is a risk that subtle movements may end up looking like camera shake in the final image.

So bear in mind:

While waving your camera around may not come naturally and may result in you getting some funny looks from amused onlookers, the end results will definitely be worth it!

What to shoot for the best results

Now that you know how to capture beautiful ICM photos, all that’s left is to pick your ICM subjects.

A good place to begin is by looking for locations that offer striking colors, lines, or patterns.

Forests are a favorite ICM subject of mine, particularly during the spring and autumn seasons. Clean, parallel lines provided by the trees, as well as the vibrant colors of nature (created by flowers in the spring and fallen leaves in autumn), lend themselves to a vertical camera movement shot. The movement can be from the top down or from the bottom up, and it can be fast or slow; it really just depends on the effect you wish to capture and how experimental you want to be.

intentional camera movement in bluebell woods

Seascapes can be a good starting point for side-to-side camera movement, where you pan the camera in line with the horizon. Alternatively, in rougher waters, you can try to match the movement of your camera to the movement of the waves for an altogether different effect.

Shooting at sunrise or sunset can provide you with a greater variety of colors to work with, and shooting city lights after dark can also offer a wide range of creative options.

Once you’ve identified a suitable location, you will probably find yourself taking multiple shots with various different movements.

(I should warn you that intentional camera movement photography can sometimes be quite addictive, and you’ll often find your memory cards filling up quickly!)

You may find it useful to set your camera to shoot in burst mode so that you can take a series of shots in quick succession while moving the camera in a particular direction.

That way, you’ll end up with a lot of images to choose from – plus, every new shot will offer you a slightly different composition and effect!

A few intentional camera movement tips

As with any type of photography, images created using intentional camera movement are not going to be to everybody’s taste.

It’s a highly subjective art form, and what works for you will not work for others.

Also, keep in mind basic principles of photography, such as composition and exposure – these are still very important!

Also, while the ICM technique will give you a very abstract result, you may find it helpful to have at least one element of the scene sharp or recognizable in the final image.

river weeds ICM

Finally, there is an element of trial and error when starting out with intentional camera movement. You’ll quickly find out what works for you and what doesn’t; this will help you develop your own style.

And don’t be too concerned if you do not get an effect you like right away – the technique can be quite hit-and-miss sometimes. Take a lot of shots, and don’t be too quick to delete images that you feel haven’t worked. There is a chance that, after a few days, you may take another look and see something that you like, after all!

Intentional camera movement photography: The next step

One of the great things about intentional camera movement photography is that it is all about how you express yourself!

Think of your camera as your paintbrush.

Get creative, have fun, and start seeing landscapes in an exciting new way.

Now over to you:

Do you have any intentional camera movement photos you’d like to share? Please feel free to display them in the comments below!

The post How to Take Creative Landscape Shots Using Intentional Camera Movement appeared first on Digital Photography School. It was authored by Richard Beech.


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Slideshow: Winners of IPA’s One-Shot ‘MOVEMENT’ competition

13 Jun

Slideshow: Winners of IPA’s One-Shot ‘MOVEMENT’ competition

The International Photography Awards (IPA) recently announced the winners of their One-Shot “MOVEMENT” competition. Thousands of photos were submitted from around the world for the theme, movement, around 5 categories: Street Photography, Nature, Fine Art, People, and Technology/Machine. The jury selected the following entries for top prizes:

Grand Prize Winner: ‘Wild Carrots’ by Anne Mason-Hoerter

Category Winners:

Fine Art: ‘Wild Carrots’ by Anne Mason-Hoerter
Street Photography: ‘School Run, Rwanda’ by Benjamin Buckland
Nature: ‘Wallace Flying Frog’ by Shin Leong Teo
People: ‘Rice Growers’ by Jacopo Maria Della Valle
Technology—Machine: ‘The Urban Semiconductor’ by Youngkeun Sur

‘The idea that everything moves, changes, and evolves, is such a great concept to explore through photography. It’s been inspiring to see how photographers of all levels of expertise have captured this concept in its many forms—universal, abstract, human, and machine. Even though it seems the whole planet has almost come to a standstill, through these images we see that life goes on and moves forward,’ says Hossein Farmani, Founder and President of IPA.

Due to the COVID-19 crisis, IPA has matched all cash prizes awarded to winning and finalist photographers in the form of a donation to the charity of their choice. All winning and honorable mention photos can be viewed here. IPA is now accepting submissions for its Annual Photography Competition.

Grand Prize Winner + 1st Place – OneShot: Movement, Fine Art: ‘Wild Carrots’ by Anne Mason-Hoerter (Germany)

Date of Photograph: 2013

Technical Info: Nikon D70s, LeicaD-Lux, Canon scanner.

Artist Statement: Multiple scan data combined with digital camera data of a Wild Carrot, scientific name being Daucus carota. My photographic process involves first taking the plant apart and then scanning each piece. I then combine those images with images I have taken with my cameras. I wanted to reproduce the unseen movement of plants at night. There are over 50 single images and took over a month to complete.?

2nd Place – OneShot: Movement, Fine Art: ‘Almost Free’ by Patrizia Burra (Italy)

Date of Photograph: December 12, 2019

Technical Info: 1/125 sec, f/8, ISO 50.

Artist Statement: An artistic vision of movement.

3rd Place – OneShot: Movement, Fine Art: ‘Giant’s Causeway and Figure, Northern Ireland’ by Ugo Ricciardi (Italy)

Date of Photograph: 2018

Technical Info: 18 sec, f/11, 100 ISO. Pentax 645z camera. Long exposure with led light on a long pole.

Artist Statement: This picture, that is part of the ‘Nightscapes’ series, was taken in Northern Ireland. The Giant’s Causeway is an ancient part of the coast. Is an area of about 40,000 interlocking basalt columns, the result of an ancient volcanic fissure eruption. The tops of the columns form stepping stones that lead from the cliff foot and disappear under the sea.

This place, so still and immovable, is illuminated by the moving light, that is fluid and changing. Two elements in contrast, and between them there is the figure of a man, on the top of the rock.

1st Place – OneShot: Movement, Nature: ‘Wallace Flying Frog’ by Chin Leong Tao (Singapore)

Date of Photograph: November, 2018

Technical Info: 1/1250 sec, ISO 1250, f/13, Sony Alpha a6500 camera.

Artist Statement: Wallace’s Flying Frog is a moss frog found in Malaysia and western Indonesia. It is generally quite photogenic given its large size, brilliant colors and calm temperament. This is a shot taken of a specimen swimming in water, with full extension of its beautiful long legs.

2nd Place – OneShot: Movement, Nature: ‘Flying over the Sea’ by Claudio Piccoli (Italy)

Date of Photograph: September 6, 2019

Technical Info: 1/4000s, ISO 100, f/2.8, full frame.

Artist Statement: I love to represent the dog as a super hero in my action shots. This dog and its owner were practicing disc dog in the water. It’s very difficult to do such amazing performances in these conditions, since the water brakes every movement. It was sunrise and I love the colors.

The position of the girl is really focused on her dog and the launch of the disc was perfect. It’s a shot you can repeat more than one or two times since after that the dog needs to rest. The dog remain the main subject and his position in the air is perfect and extended with the maximum tension of muscles.

3rd Place – OneShot: Movement, Nature: ‘Surfacing’ by Jean-Christophe Girard Lemay (Canada)

Date of Photograph: March 2, 2020

Technical Info: 1/2000 sec, f/2.8 , ISO 400 , 125mm lens.

Artist Statement: Such a memorable day navigating the St. Lawrence (Quebec, Canada) on the CCGS Amundsen. A was assigned as official photographer for the scientific mission that took place on the ship, for two weeks and a half.

On the fifth day, a beluga came to visit us very closely when we were stopped at the last sampling station. I knew I saw one earlier, but very far offshore. This time, it couldn’t have been closer than; it dived right in front of our eyes, and then came out often on the other side of the boat about fifteen minutes later, each time blowing air just before it hit the surface.

2nd Place – OneShot: Movement, People: ‘Night Journey’ by Ken Browar and Deborah Ory (United States)

Artist Statement: ‘Night Journey’ is a photograph of the Martha Graham Company taken for our book ‘The Style of Movement’ The image is of 6 dancers performing the piece ‘Night Journey’ choreographed by Graham. The dance is based on the Greek myth of Oedipus and Jocasta with six women portraying the Greek chorus.

Martha Graham designed the dramatic costumes, which accompanied the text in our book discussing Graham’s influence on fashion design. We felt this piece worked well for the theme of ‘movement’ as the women are moving together in perfect harmony, both in their movement, and in their dynamic expression.

3rd Place – OneShot: Movement, People: ‘Good Sheepherd’ by F. Dilek Uyar (Turkey)

Artist Statement: The dusty and arduous journey of sheep herds in Bitlis. Sheep herds do this dusty path to reach the highlands where they graze until the middle of July after milking.

1st Place – OneShot: Movement, Street Photography: ‘School Run, Rwanda’ by Benjamin Buckland (Switzerland)

Date of Photograph: October 20, 2019

Technical Info: 1/15 sec, ISO 160, f/22, cropped sensor.

Artist Statement: I drove down here in a wild storm. South towards Lake Rweru and the deepest source of the Nile. Pools of water on the road. Hard enough that my creaking windscreen wipers couldn’t keep pace and I stopped for a while. Peering downhill at Burundi through the mist. Rain intense enough that even the usually indomitable Rwandese cyclists disappeared from the road. But like all rain here at this time of year, it was quickly over. And the cyclists were back before I knew it. Rwanda. October 2019.

2nd Place – OneShot: Movement, Street Photography: ‘Flying Boys’ by Dimpy Bhalotia (India)

Artist Statement: This was shot in Varanasi, India.

3rd Place – OneShot: Movement, Street Photography: ‘Momentum’ by George Stastny (Canada)

Date of Photograph: June 11, 2018

Technical Info: 1/1000 , ISO 100, f/1.8, Micro Four Thirds crop sensor.

Artist Statement: We all have a driving force that keeps us moving at a forward momentum.

1st Place – OneShot: Movement, Technology/Machine: ‘The Urban Semiconductor’ by Sur Young Ken (Republic of Korea)

Date of Photograph: January 24, 2020

Technical Info: 15 sec, f/11, ISO 64, Nikon D850 camera.

Artist Statement: We live in an age of massive and fast transmission.

2nd Place – OneShot: Movement, Technology/Machine: ‘Porsche Type 64 Ice Race’ by Richard Seymour (United Kingdom)

Date of Photograph: February 1, 2020

Artist Statement: Tracking shot of a replica Porsche Type 64 at the 2020 GP Ice Race at Zell am See, Austria.

3rd Place – OneShot: Movement, Technology/Machine: ‘Moonlight over the Atlantic’ by Christiaan van Heijst (Netherlands)

Date of Photograph: January 12, 2020

Technical Info: 4.0 sec, f/2.8, ISO 1250, Nikon D850, 10.5mm.

Artist Statement: Full moon. About to cross 30 West, halfway a stormy Atlantic Ocean when the radiant moon ascents above the horizon. Blinding out most stars, the bright lunar spell adds a touch of magic to the world around me. Silver-painted clouds drift by while the capsule of the 747 cockpit allows me to breathe, live and appreciate this alien-like landscape. Far beyond, the gently glowing horizon marks the delicate edge of space. Almost home.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – ICM (Intentional Camera Movement)

25 Apr

The post Weekly Photography Challenge – ICM (Intentional Camera Movement) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Since many of us are still limited to where we can go, this week’s photography challenge topic is the ICM (intentional camera movement)!

Weekly Photography Challenge – ICM -Intentional camera movement green grass with sun in background
I focused the camera then as I pressed the shutter button, moved the camera following the direction of the grass blades. f/16, ISO 100, 1/15th sec.

This is a fun exercise you can try inside your home or out in your yard (if you are lucky enough to have one). If you live in an apartment in the city, you may want to try capturing the night city lights with ICM instead.

You’ll want to use a relatively slow shutter speed – something slower than around 1/15th of a sec. Then you will want to physically move the camera in the direction you want as soon as you hit the shutter button.

Weekly Photography Challenge – ICM (Intentional Camera Movement)
I moved the camera horizontally to follow the line of the water © Caz-Nowaczyk

You may want to follow the direction of the lines in your compostition or go against them – the creative decision is yours!

You can even make the exposures so long that we have to guess what photograph is actually of (you can probably tell what mine are, though!).

I look forward to seeing your shots.

Weekly Photography Challenge – ICM -Intentional camera movement green grass with sun in background
Intentional Camera Movement ICM by Caz Nowaczyk f/16, ISO 100, 1/15th sec.
Weekly Photography Challenge – ICM -Intentional camera movement green grass with sun in background
To create this Intentional Camera Movement, I followed the direction of the blades of grass. I also shot into the sun to get some nice bokeh balls on the image on the right. © Caz Nowaczyk.
Weekly Photography Challenge – ICM (Intentional Camera Movement)
This was a really long exposure (13 sec). I moved the camera around slowly, while hand-holding. The light was from the house lights on the coastline. Their reflection is caught on the water. 13 sec f/2.8 ISO 100 © Caz Nowaczyk

Check out some of the articles below that give you tips on this week’s challenge.

Tips for photographing the ICM

How to Take Creative Landscape Shots using Intentional Camera Movement

Creative Reasons to use Intentional Camera Movement

Intentional Camera Movement and the Landscape

Intentional Blur- How to Create it and Why it’s Awesome

How Mark Rothko’s Paintings Can Inspire Your Photography

5 Great Ways to Create Abstract Wave Photography

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSICM to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – ICM (Intentional Camera Movement) appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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How to Use Intentional Camera Movement in Your Photography to Great Effect

24 Apr

The post How to Use Intentional Camera Movement in Your Photography to Great Effect appeared first on Digital Photography School. It was authored by Simon Bond.

How to Use Intentional Camera Movement

The presentation of motion in a static image is the subject of this article – a seeming contradiction in terms. This is not the case, and today you’ll discover how to use intentional camera movement to create dynamic images. You’ll learn the techniques you can use during the day and those which you can use at night. So read on and find out how you can make your photos dynamic!

What is intentional camera movement?

How to Use Intentional Camera Movement in Your Photography to Great Effect
This image used a day time zoom burst, and a strong ND filter.

The majority of the time, you’ll be taught to keep your camera still, to avoid blur in your photo. However, what if you moved the camera during an exposure, and you did it on purpose? This is what intentional camera movement is.

Now for this effect to work, you’ll need to use slow shutter speeds. You won’t see any worthwhile results from shutter speeds over 1/100th.

It’s possible to practice this handheld with shutter speeds between 1/50th and half a second. Anything slower than that will require a tripod for the best results.

How to use intentional camera movement during the day

There is more than one way you can apply intentional camera movement to your work. The most well known is probably panning. The following are the main ways you can move your camera, and produce interesting results.

How to Use Intentional Camera Movement in Your Photography to Great Effect
Panning is a technique that tracks movement.

1. Panning

Panning is a technique used to show the motion of a moving object. The aim is to move your camera at the same pace as a moving object and to expose the image for around a third of a second to produce blur in the background.

There are several ways you can refine this technique to produce even better results.

The shutter speed used will also be dependent on the speed of the object you are panning. This is a nice technique to try as there is a clear main subject, which is not always the case with intentional camera movement.

2. Zooming

How to Use Intentional Camera Movement in Your Photography to Great Effect
A night time zoom burst, with light painting across the scene.

Using zoom during the day can also give interesting results. You’ll learn how you can add even more to this technique at night by reading below. The effect is produced by changing the focal distance of your lens, so primes lenses won’t work here.

The following are the steps you’ll need to take to create a daytime zoom burst.

  • Exposure – You’ll need to find a location that allows you to expose at 1/10th second or longer. If you choose to use a longer exposure, you’ll need a tripod.
  • Lens – You’ll need a lens that allows you to manually change the focal distance during the course of the exposure.
  • Filter – Those daytime long exposures will likely require an ND filter to achieve them.
  • Zoom in – The effect will broadly be the same whether you zoom in or zoom out, but for daytime zoom, it’s better to zoom in.
  • Focus – Focus your camera at the focal distance you intend to finish the zoom burst at. This may require pre-focusing the camera, and setting the camera to manual focus for the exposure itself.
  • Location – A location with something overhead like a tree canopy will work best to show the zoom effect. A clear sky won’t show any zoom at all.

3. Intentional camera movement

This type of photo is often very abstract in nature. The goal is to move the camera in such a way it produces appealing blur patterns in your image. You’ll need a longer exposure to produce this.

How to Use Intentional Camera Movement in Your Photography to Great Effect
Circular motion is a type of intentional camera movement.

The best movements are often defined shapes. If you move your camera in a straight line, a circular motion, or perhaps a heart shape, you should get a nice result.

It’s possible to carry out photos like this handheld if the exposure is short, and you keep to a simple movement. An exposure of around half a second would work for this.

4. Using a tripod

It also possible to use intentional camera movement from a tripod, though you’ll be limited to the movements your tripod head will allow. That means you can produce all the shapes mentioned above, you’ll just be pivoting from a fixed position.

The advantage of using a tripod is that the camera will be that much steadier. The next advantage is that if you wish to combine intentional camera movement with a stationary phase to an exposure, this is possible with a tripod.

Techniques you can use at night

How to Use Intentional Camera Movement in Your Photography to Great Effect
Lights from an event like Christmas are great opportunities for kinetic light paintings.

It’s that much easier to practice intentionally camera movement at night. That’s for two reason. The first is it’s easier to carry out long exposure, as the light level will be lower. The second is light sources you’ll see out night will light paint across your scene. In fact by night intentional camera movement might more accurately be described as kinetic light painting. The techniques listed above can be adapted to night photography. Panning is almost the same, so this won’t be discussed any further.

1. Kinetic light painting zoom

Kinetic light painting involves changing the focal distance of a zoom lens, during a long exposure photo. The exposure lengths at night mean you’ll now need to use a tripod to get good photos using this technique.

A key difference with daytime zooming is that it’s preferable to zoom out when practicing this. The reason for this is you want the light paint to zoom outwards across your scene. If you zoom in, the chances are you’ll have light painting across your main subject in the center of your scene. To find out more about this technique, you can read this article.

How to Use Intentional Camera Movement in Your Photography to Great Effect
This photo shows the result of camera rotation, and kinetic light painting.

2. Kinetic light painting rotation

Another type of kinetic light painting is camera rotation. Once again, you’ll need a tripod for this, and you’ll move your camera body while it’s attached to the tripod. It’s a technique that works best where there are tall structures. These can be tall buildings, statues or perhaps Christmas trees.

To make this technique work, you’ll need these structures to have lights on them. To find out more about camera rotation read this article.

Create dynamic images intentionally!

Now it’s your turn to get out and create some images. If you can’t get out and about, try some of these in your yard or home. It’s a great way of adding narrative to an image, or perhaps to create a completely abstract image.

Have you tried any of the ideas mentioned in this article? If you have what were your experiences?

As always, if you have images that display intentional camera movement, please share them in the comments.

The post How to Use Intentional Camera Movement in Your Photography to Great Effect appeared first on Digital Photography School. It was authored by Simon Bond.


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Weekly Photography Challenge – Movement

06 Oct

Your photographic challenge this week is to take and share a photo on the theme of movement.

*** by Tatyana Nevmerzhytska on 500px.com

 

You can interpret this theme in different ways, so long as there is a sense of motion. The photo above features in the following article with tips on how to use wind in your portrait shots.

Portrait Tip: Add Interest and Movement into Your Shots with Wind

Or maybe you might try experimenting with blur and movement. Here are some tips for that:

How to Capture Motion Blur in Photography

And some inspiration for where you can take these kind of shots:

13 Places Take Beautiful Motion Blur Shots

Want to focus more on a range of other shooting techniques you could use? You could try:

  • Panning
  • Zooming
  • other creative Intentional Camera Movement techniques

Or start with a beginners guide to capturing motion in your photography.

Weekly Photography Challenge – Movement

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSMOVEMENT to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

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Movement in Fashion Photography

15 Mar

  One thing that I love to see in a photograph is movement.  Movement  makes a photograph come alive, but is also  one of the hardest things to portray.  Newer photographers have a lot to deal with, settings wise, and might not  know how to tell the models to move, and newer models have it stuck in their heads not Continue Reading

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NYC Dance Project: How two photographers capture the beauty in movement

06 Nov

NYC Dance Project: The Art of Movement

Charlotte Landreau, Soloist, Martha Graham Dance Company. © Ken Browar and Deborah Ory

New York City-based photographers Deborah Ory and Ken Browar have spent the past two and a half years creating images of today’s most influential dancers in their home studio. A project that began in a quest to make photographs to decorate their daughter’s bedroom quickly became a long-term endeavor to capture the beauty of movement. This self-funded project, fueled by their passion for photography and dance, resulted in the team’s first book: The Art of Movement—a beautiful, award-winning 300 page compilation featuring photographs of more than 70 dancers from the world’s leading companies including American Ballet Theatre, New York City Ballet, Alvin Ailey American Dance Theatre, Royal Danish Ballet, among many others.

Ory, who started dancing when she was 7, began her photography career photographing rehearsals when a dance injury prevented her from performing. She has shot editorial for magazines including Self, Martha Steward Living and Real Simple and served as photo editor for House and Garden and Mirabella.

Fashion and beauty photographer Browar began his career in Paris, with work published in some of the leading fashion magazines in Europe and the U.S. including Vogue, Elle and Marie Claire. Browar’s interest in dance began when he photographed dancers for the Paris Opera Ballet.

Together their NYC Dance Project has been featured in numerous magazines ranging from Harper’s Bazaar to Vogue Italia.

For behind the scenes insight into the project, you can read our Q&A with this talented team. Be sure to scroll through the gallery to see some of the images from the project.

The book can be purchased here. Follow NYC Dance Project on Facebook and Instagram And if you’re in New York City, check out these events celebrating the book:

November 7 – ABT Jr Council Book Launch – A cocktail party and book signing; many of the ABT dancers will be there. More info and tickets

November 10 – Barnes and Noble Book Signing – 7pm – 150 East 86th Street, New York City. A book signing and Q&A. Ory and Bowar will be joined by Martha Graham Principal dancers, Lloyd Knight and Masha Dashkina Maddux (the dancer on the cover). More info here

?November 30, 2016 – Martha Graham Dance Company Studio Series – 7pm. Ory and Browar will be having a discussion with Artistic Director, Janet Eilber. Members of the Martha Graham Company will be performing and there will be a chance to take photographs of the dancers. Reserve your tickets here

December 8, 2016 – Rizzoli Bookstore – 6-8pm. 1133 Broadway, New York City. There will be drinks and a launch party to celebrate the book as well as a panel discussion with Ory, Browar and the dancers.??? rizzolibookstore.com

NYC Dance Project: The Art of Movement

Xin Ying, Principal, Martha Graham Dance Company. © Ken Browar and Deborah Ory

How did the NYC Dance Project get started? What was your inspiration?

The inspiration for the project came when our daughter Sarah, an aspiring ballerina, wanted to decorate her room with dance photographs. To our disappointment, we were not able to find images of the current dancers that Sarah admired in any contemporary books or photographs. There were beautiful images of famous dancers from past generations – such as Baryshnikov or Markova, taken more than 40 years ago – but nothing of the current stars.

Ken decided we needed to photograph these dancers ourselves. We were great fans of Daniil Simkin, the American Ballet Theatre Principal Dancer, and sent him an email asking him to be our first subject. Daniil loves photography and agreed to be photographed and this was the beginning of NYC Dance Project. Daniil helped us in getting a lot of other dancers involved in the project. It was a time when dancers were starting to use social media to promote themselves and they were interested in having images taken.

We originally thought it was going to be a blog, but after we had 4-5 shoots, we realized this had a longer life than we thought it would.

NYC Dance Project: The Art of Movement

Gillian Murphy, Principal, American Ballet Theatre. © Ken Browar and Deborah Ory

You’re very active in social media. How has that benefited you and the project?

Social media is a really important part of our project and we started with it right away. Daniil Simkin was very involved in social media and helped us learn how to promote our project through Facebook and Instagram. Our audience has been really active and it’s been a great way for us to reach even more people. Through social media, we have been able to reach an international market – we have dancers from around the world contacting us and asking about doing shoots with us when they are touring to NYC. It’s been a great way for us to connect worldwide with the dancers.

Having a large social media following was also important to our publisher, as it’s a great way to promote the book.

NYC Dance Project: The Art of Movement

Michael Jackson Jr, Alvin Ailey American Dance Theater © Ken Browar and Deborah Ory

Your studio is set up in your living room. How do you manage that arrangement?

Ken and I mostly worked in rental studios or outdoors previous to this and the fact that we work from our home changes the mood for the shoot. There are usually no more than the two of us, the dancer and sometimes a hair and makeup artist. Because it’s a small crew, in our home, it’s a very warm and friendly environment. There is something about the casualness of being in our home that we really love. We also can do a shoot at the last minute. Often we leave our studio set up for a few days and shoot several dancers. We go in spurts where shoot a lot, then we put our home back together and spend a few days editing.

The space we have is very large. We were able to do a shoot with 9 dancers here, although it was very tight. Ideally we would have an even larger studio, but as this is a self-funded project, we never would have been able to do it if we rented a studio.

NYC Dance Project: The Art of Movement

Michael Jackson Jr, Daniel Harder, Sean Aaron Carmon, Alvin Ailey American Dance Theater. © Ken Browar and Deborah Ory

Tell us about how your studio space is set up, what gear you use and how you work together.

Our home is a loft space with 16 foot high ceilings. Usually our background is about 15 feet high. We work with a Hasselblad on a tripod, using a standard 80mm lens. We now have the H6D. We like working with medium format, because we love the way it looks. Also, we like printing the images very large and the medium format lends itself well to this. We work very slowly, as we are using strobes and never have used a motor drive. When a dancer does a jump, we have to get the timing right, there is no room for mistakes!

We tend to keep our lighting very simple, with just one or two lights – from the top and/or side, depending on where the subject is and how they are moving. We’ve been using Profoto’s D4’s. These are not as fast as other lights that would stop the action 100%, but we are not bothered by not having technically perfect images. It’s the emotion and movement that we are trying to capture.

Our light is just to enhance the movement. We’ll start with the movement and think about how the light can work the best to complement it. Since the dancer is always moving throughout these shoots, we are constantly adjusting the light, bringing reflectors in and out and refining things. It’s all very fluid.

NYC Dance Project: The Art of Movement

Artem Ovcharenko, Principal, Bolshoi Ballet. © Ken Browar and Deborah Ory

…(cont.) People write us all the time asking if we can send them a lighting diagram. We can’t do this as we are constantly adjusting the lights. It’s so helpful having two people making the images – one of us is watching the dancer and the other is moving a light or adjusting it.

We use hand painted backgrounds that we’ve had an artist make. She is constantly refining it over and over for us. At one point she told us that she can’t add any more paint to it, it was getting too thick to roll up!

We have wood floors but we put a Marley dance floor, which comes in rolls, on top of the floor and underneath the canvas. That helps dancers from slipping and helps keep the canvas in place as well.

In the beginning we each worked with our own camera and had our own idea of what the image should be. The dancer would have to repeat the movement for each of us and we would compare who captured it better. Now we have become a team and work with one camera.

NYC Dance Project: The Art of Movement

James Whiteside, Principal, American Ballet Theatre. © Ken Browar and Deborah Ory

When a dancer comes into the studio for a shoot, how much do you direct them? Where do you begin?

Most of these dancers are well known dancers that we have seen perform before. If we haven’t seen them live—such as dancers from another country—then we’ll watch videos of them so we kind of know their strengths. Ken and I have an idea about what we would like to capture about each dancer, but once the dancer comes in, it’s a collaboration with them as well. We have them start moving with very little direction from us. We’ll look at a few images together and start to refine them. Usually we pick one or two ideas to work on and fine tune those until we get an image we all feel works well.

NYC Dance Project: The Art of Movement

Miriam Miller, New York City Ballet. © Ken Browar and Deborah Ory

Who styles the dancers and where do you get the outfits for the shoots?

I [Ory] do most of the styling for our shoots. Once we worked with a stylist and we felt it was too much about fashion and often the clothes did not move well. The clothing needs to be simple and beautiful, but most importantly, it needs to move well.

Clothing is a really important element for us. We’ve gotten outfits from different designers, including Leanne Marshall, who has been a big contributor for us. Companies like ABT will sometimes give us old costumes. They’re tattered and hand stitched and I love that you can see little rips and tears.

We also sometimes paint their pointe shoes so they match the clothing. In fashion you would never wear the same colored shoes with every outfit, so why would you wear pink pointe shoes with every dress?

NYC Dance Project: The Art of Movement

Fana Tesfagiorgis, Alvin Ailey American Dance Theater. © Ken Browar and Deborah Ory

What software do you use and how much post-processing is involved?

On set we shoot tethered with Hasselblad’s Phocus software. The images are brought into Lightroom to edit and the post-processing is done in Photoshop, after we have made our selects. Post-processing is pretty minimal in terms of what we do to the pictures. Most of our time is spent cleaning up spots and dust in the background. There is very little manipulation of the images themselves.

Often we have to remove cats from the photos! Our cats are literally walking through the set and often they are in the photo or there is a tail in the picture. They will go lay down underneath the dancer, no matter what the dancer is doing!

NYC Dance Project: The Art of Movement

Misty Copeland, Principal, American Ballet Theatre, from our shoot for Harper’s Bazaar, Degas story. © Ken Browar and Deborah Ory

You were commissioned by Harper’s Bazaar to do an editorial with American Ballet Theatre’s Principal dancer, Misty Copeland in conjunction with the Degas exhibit at MOMA. How did that come about?

Harper’s Bazaar found us on Instagram and also through another principal dancer who recommended us for this job. Glenda Bailey, their Editor-in-Chief, wanted someone who was used to shooting dancers, rather than a fashion photographer. Also, we had worked with Misty before, so they had seen our images of her. While we were very fortunate that they picked us, we were not really looking for commercial assignments at that time. They asked us if we had a porfolio and we just suggested they look through our Instagram feed. It was interesting to us as we knew how difficult it can be to send your portfolio and try to get jobs with magazines like Harper’s Bazaar.

It was a really difficult shoot. Bazaar wanted to make the pictures look exactly like Degas’ painting of dancers. We were stressing about how to make these images keep the perspective and painterly look of the Degas paintings. Degas sometimes just painted things in the background and we could not figure out what these things were. What are those blue streaks? Is he painting a set or was that just for effect? It was really a challenge re-creating these paintings!

There were about 50 people on set, and it was the first time we had worked with a crew that large for a dance shoot. The space we used at Pier 59 photo studios in NYC was really large, but we had to create 5-6 sets and there was only room to put up 2 at a time. Luckily, there were a lot of people to help us create these sets and it all came together beautifully. There was a lot of press surrounding the story, so it really helped us to get better known.

NYC Dance Project: The Art of Movement

© Ken Browar and Deborah Ory

Your first book, The Art of Movement, was released this October. What was it like to publish your first book?

As photographers, both of us had always dreamed of making a book. We certainly did not just create the images for instagram! Meeting with publishers was a bit depressing, however; most said they only do a dance book every ten years or so. It took a lot of persistence, and also a great literary agent, to help us find the right publisher. Although it worked out in the end, we got our contract at the last minute. Our publisher, Black Dog & Leventhal, wanted to get the book out this year, so we had to work incredibly quickly to meet the deadline. We barely slept for a few months. Putting together a 300 page book in such a short amount of time was very ambitious and stressful, but looking back now, it definitley feels worth the struggle!

NYC Dance Project: The Art of Movement

Michael Jackson Jr and Sean Aaron Carmon, Alvin Ailey American Dance Theater. © Ken Browar and Deborah Ory

What’s next for you?

It’s likely that we will make another book. The next step is also working with galleries. We just started working with the Holden Luntz Gallery in Palm Beach and will be looking for a gallery in NYC as well.

Articles: Digital Photography Review (dpreview.com)

 
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Polyphonic Playground: Making Music with Fun Movement

29 Sep

[ By Steph in Design & Products & Packaging. ]

polyphonic playground 1

Climb a ladder, swing on a hammock-like seat and run your hands along various wooden surfaces on this strange polyphonic playground, and your movements will create a unique song. Studio PSK teamed up with beatboxer Reeps One to create this multi-sensory play experience for this year’s London Design Festival, encouraging people to interact with an unusual physical fusion of music, design and technology.

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Designer Patrick Stevenson-Keating d Reeps record a bunch of different sound banks of samples, which were then loaded onto the program Ableton Live and mapped to trigger points on the playground. A product called ‘Electric Paint,’ which sends signals to the computer, is screen-printed onto paper tiles and covered in protective acrylic, acting as giant keys on a keyboard.

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The wooden playground frame is like one big musical instrument in this sense, setting off cascades of sound as participants clamber up the steps or take a trip down the slide. In addition to the conductive paint on the wooden elements, the team integrated copper tape into the slide and conductive thread in the swings.

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“We were always very clear from the start that we wanted ‘play’ to be an important part of the project,” the designer tells Bare Conductive. “…Often we communicate quite complex ideas or narratives, but by employing a playful strategy to do so, we can engage with the audience in more meaningful ways. This was certainly the hope for the Polyphonic Playground.”

 

 

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How to Take Creative Landscape Shots using Intentional Camera Movement

19 Aug

Many photographic situations rely on keeping your camera as still as possible during exposure for pin-sharp images. You may have practiced hard to develop a steady hand and you’ve probably used tripods, remote shutter releases or image stabilisation to reduce the risk of camera shake. But, is keeping your camera still always a good thing? Every now and again, why not throw caution to the wind, move your camera while the shutter is open, and explore the range of creative opportunities this offers you as a photographer.

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What is Intentional Camera Movement and why use it?

Intentional Camera Movement (or ICM for short) is a photographic technique where the camera is moved as the image is being taken. One example is panning. The camera movement mimics that of a moving subject to keep the subject sharp and the background blurred. However, moving your camera during exposure can open up a lot more creative options for you to try out. In particular, ICM can be used to take some truly unique landscape shots. The technique can be exceptionally liberating and, by reducing the amount of sharp details in a landscape, it allows you to concentrate on lines, form and colour in your images. A scene that you may ordinarily consider too cluttered, might just come to life through ICM by letting you blend colours and shapes for an interesting abstract shot.

One of the reasons that I have grown to love ICM is that it enables you to capture a landscape in a unique and personal way that cannot easily be reproduced. It can even breathe new life into overly familiar landscapes, letting you see and capture something new about a location you may have photographed many times before. If you are struggling to find inspiration for your next photographic project, or you want to get your creative juices flowing, this is a technique that you should try at least once. It is relatively easy to take some striking shots, you are sure to end up with a unique set of landscapes and it can also be a lot of fun.

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Slow Shutter Speeds

A key factor to get right when using ICM is the shutter speed. It needs to be long enough to capture significant motion blur; anything from 1/3 or 1/2 second exposure times, up to multi-second exposures. Because of these slow shutter speeds, shooting in low-light conditions is ideal for ICM. During the daytime, it may be harder to achieve the required shutter speeds even at the lowest ISO setting and the smallest aperture (highest f-stop number). You may need to use a polarizing filter, a neutral density (ND) filter, or a combination of both. Personally, I prefer to use a polarizing filter as a starting point as this helps to boost colours and cut down on reflections and glare. I will then add a 2-stop or a 4-stop ND filter if the shutter speed needs to be slowed down any further.

When starting out with ICM, it may help to shoot in Shutter Priority mode. Set the shutter speed to around half a second to start, and turn the ISO to the lowest available setting on your camera. Once you have practiced at this shutter speed, you can then get longer exposure times by using a combination of low-light and/or filters. Focus manually and turn off the autofocus to prevent the camera searching for focus during exposure. Also, if you are using a lens that has image stabilization, remember to turn it off.

RockpoolsportlandICM750

Moving the Camera

Once you have taken control of the shutter speed, how you move the camera is totally up to you. Get creative, there are no rules. You could move the camera vertically, horizontally, or diagonally – fast or slow. Alternatively, you could rotate the camera 360 degrees during exposure to create a spiral effect, or change the focal distance on a zoom lens during exposure to create a zoom effect. With practice, you can combine two or more of these movements to create something truly unique. The look and feel of your final images will be determined by the speed, direction, and smoothness of your chosen movements. If you wish, you can use a tripod to control the camera movement. This will help you to capture a smoother movement, which can be useful if you wish to retain a straight horizon line. I prefer to work hand-held when moving the camera, as it offers greater flexibility and provides more opportunities to experiment with different movements.

Bold movements can sometimes be more effective as there is a risk that too subtle a movement may end up looking like camera shake in the final image. Waving your camera around may not come that naturally, and it may result in you getting some funny looks from amused onlookers, but the end results definitely can make it worthwhile.

ICMwarehamtreesunset750

What to Shoot

A good place to begin using ICM in your landscape shots is to look for locations that offer striking colours, lines, or patterns. Woodland is a favourite ICM subject of mine, particularly during the spring and autumn seasons. Clean, parallel lines provided by the trees and vibrant colours of nature (provided by bluebells in the spring and fallen leaves in the autumn) lend themselves to a vertical camera movement. This can be from the top-down, or from the bottom-up and can be a quick or slow movement. It really just depends on the effect you wish to capture, and how experimental you want to be. Seascapes can be a good starting point for side-to-side camera movement, panning the camera in line with the horizon.

Alternatively, in rougher waters, you could try to match the movement of your camera to the movement of the waves for an altogether different effect. Shooting at sunrise or sunset could provide you with a greater variety of colours to work with, and shooting city lights after dark can also offer a wide range of creative options.

Once you have found a suitable location, you will probably find yourself taking multiple shots with various different movements. (I should warn you that this technique can sometimes be quite addictive, and you may find your memory cards filling up quite quickly!) You may find it useful to set your camera to shoot in Continuous Shooting Mode so that you can take a series of shots in quick succession, while moving the camera in a particular direction.

Bluebellaction750

Final Tips

As with any type of photography, images created using this technique are not going to be to everybody’s taste. It is highly subjective and what works for you will not work for others. Just keep in mind basic principles of photography such as composition and exposure – these are still just as important. Also, while this technique will render much of the landscape abstract, you may find it helps to have at least one element of the landscape sharp, or recognizable in the final image.

There is an element of trial-and-error when starting out with Intentional Camera Movement. You should soon find out what works for you and what doesn’t; this will help you to develop your own style. Don’t be too concerned if you do not get an effect you like right away – the technique can be quite hit-and-miss sometimes. Take a lot of shots, and don’t be too quick to delete shots that you feel haven’t quite worked out as you had hoped. There is a chance that, after a few days, you may take another look and see something that you like in there after all.

One of the great things about this technique is that it is all about how you express yourself through photography – think of your camera as your paintbrush. Get creative, have fun, and start seeing landscapes in an exciting new way.

RiverweedsICMblandford750

I have included several of my attempts at ICM landscape shots. Please feel free to share your own in the comments section.

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The post How to Take Creative Landscape Shots using Intentional Camera Movement by Richard Beech appeared first on Digital Photography School.


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Motion Exposure: Light Art Captures the Movement of Kayaks

04 Dec

[ By Steph in Art & Photography & Video. ]

motion exposure 1

Strange undulating patterns of colored lights seem to slink across the surface of water like living entities in this captivating series of images by Ontario-based photographer Stephen Orlando. In a variation on the art of light painting, Orlando attaches LED lights to the oars of kayaks and canoes, literally spotlighting their movements as they cut through rivers and lakes.

motion exposure 2

motion exposure 3

Long exposures capture nothing but the lights as the subjects move against the backdrops, erasing the kayaks and the humans piloting them. The result is surreal, as if bioluminescent alien creatures were gliding on the surface of the water.

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“I’m fascinated with capturing motion through time and space into a single photograph,” says Orlando. “Using LED lights with custom color patterns and long exposure photography, I’m able to tell the story of movement.”

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“This technique reveals beautiful light trails created by paths of familiar objects. These light trails have not been artificially created with Photoshop and represent the actual paths of the objects.”

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cyclones

Another project takes light painting to a more urban setting, with painter Diliz capturing faces in sparks. Cyclones of light also appear to break through the surface of the earth and bodies of water in stunning works by Martin Kimbell.

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