When autumn leaves start to fall, it might be a good time to consider intentional camera movement as a creative technique. What I realize more and more is that there are a number of unique approaches to the ICM idea and that it is well to try all of them as an opportunity presents itself. This Image was created along the Foothills Parkway East in Cocke County, Tennessee during the same adventure that gave being to the previous This Week’s Image. I think that “pointillist” is an apt way of describing the outcome here, which can be pre-conceived and executed with just a bit of practice.
A focal length of 98mm, definitely short-telephotoland, gave me the angle-of-view I wanted, allowing for sufficient camera movement without introducing “sky” into the frame. An aperture of f/18 meant that there would be some sense of detail at depth in the image, and a shutter speed of 3.0 seconds at ISO 100 meant that there would be sufficient time in the exposure to carry out the complete technique, since the small aperture and small ISO number provided a longer shutter time than larger openings and greater sensitivity would have allowed.
Pointillism suggests a technique of painting in which small dots of color are applied to a surface in patterns that form images. In this particular movement approach, the allowance for detail in the elements of the composition created by specific steps in the process give a “pointillist” outcome to the result.
Beautiful!!
Don, what a great image. Please share some of your decisionmaking about extent of movement, etc. Really interesting. I’m also intrigued about how you maintained the trunks’ and some of the leaves’ clarity in this process. As one who is often to enslaved to crispness, I can learn from your exploration of a different vision. Have a good week!
Ray
Exquisite rendering!l
I like the ghostly look of the trees.
Gordon
Howdy Don, I’ve see “swipes” of tree trucks and sometimes foliage, but never together. But I see different in your image is that there is a sharp exposure along with the motion blur too. I’m thinking 50% static exposure and 50% motion exposure. Love the combination and results.
That didn’t take long. Glad I asked. I enjoyed using this technique on our trip to the UP. Although I will not gravitate to this often, it is fun to expand your horizons and have a little fun now and then. There are so many ways to look at, and compose a scene only if we let our minds explore.
Don, I really love this! And like Ray Foote, I would love to know your decision making process!
Good morning Everyone. I am delighted that all of you are joining me for this conversation. Thank you for being with me and for the wonderful thoughts and observations you have shared. These sorts of compositions are not something I generally share as an Image for the Asking, but they are a lot of fun, can be very creative, and provide new ways of working with familiar subjects.
Up front I want to offer some thoughts on process, since some of you have asked specifically. It is, to be honest, a slight bit of chiding on my part, and is not meant in any way as something derogatory or offensive, but as a gentle general reminder of something we can and do so often overlook when thinking about the work of those whose vocations leads them to be labeled as “artists.” Many years ago as a young attorney I was frequently asked for “advice” by folks in the public whom I knew and with whom I was very familiar. I was never quite sure how to respond since giving legal advice was how I paid the bills and put food on the table. One day I was visiting with an older attorney friend of mine in his office, and I noticed a small plaque on his desk with a quote. It read, “A lawyer’s time and advice are his stock in trade.” ~A. Lincoln~. ‘Nuf said.
Hi John. It’s always good to hear from you. I hope you’ve had a beautiful autumn. Thank you very much for those kind words. I am glad that this Image resonates with you. Be well.
Hey Ray. I always look forward to your thoughts, observations, and questions; and I am particularly glad that you like this image. This effect is not very difficult and one improves the outcomes with practice and experimentation. First, I select the parameters of my composition and put the camera on its tripod. I select the settings that will provide for the longest exposure possible (even adding a neutral density filter if needed). Three seconds is just about a minimum. I set the shutter on self-timer so that I can remove my finger from the shutter release and also so that I can anticipate the releasing of the shutter itself (2-second delay is all that is needed). I make sure that when the moment comes and I am moving the camera upward, I will not introduce sky, or more sky than I have chosen to introduce. As the shutter releases I am already moving the camera upward, holding the tripod by the tripod head. I move the camera/tripod with deliberate quickness for the distance I have pre-selected, then I bring the camera/tripod back to rest on the ground, trying to make sure I have left at least a second of exposure time while everything is in that position before the shutter closes. And everything else is just practice. I also wish for you and excellent week. Walk in Beauty, my friend.
Patrick, your kind words are more honoring than you can possibly imagine. It is a treat to have you join us. I hope we can be in touch very soon, and I hope to receive some positive news about how you have been doing, or how otherwise the prognosis is unfolding. I only wish you could have joined us in the UP. It was a glorious foliage season in the North Country.
Hey Boss; it’s great to have you with us. I hope your trip to the West Coast is going splendidly. I truly appreciate your observation. The rendition of “ghostly” trees can often be an outcome of this process, and they are always a lot of fun, especially if you are working with sycamores. They were known as “ghost trees” to the early settlers anyway.
Howdy Michael. Thank you for being with us, as always, and for your thoughtful observations and kind comments. My explanation to Ray about how this was achieved does result in a fairly even divide between motion and stillness. I might put it at about 60% motion and 40% stillness; but who’s counting. Have a wonderful Thanksgiving my friend, as New England prepares for its slide into winter.
Hey Kev. It’s a true delight to have your comments added to everyone else’s. I hope you and Elizabeth are well. This coming week I’m going to double down on accomplishing all of the Acadia work that has to happen before Knife Day (still set for December 31). No, this may not be the sort of process to which you would be commonly drawn as you go about your creativity; but it is something that can be fun and free-flowing and provide a bit of relief from the rigors of still compositions. Let’s talk very soon, my friend.
Hey Phyllis. Thank you for being with us. Since my response to Ray is fairly detailed, I will not add anything more here. Now that you have it, enjoy playing with it., and Walk in Beauty.
Thank you all, again, Everyone for offering such excellent observations and kind comments. Have a wonderful and safe Thanksgiving. The next time we may gather, it will be December.