Continuing my quest to better myself experimenting with I.C.M. all single images and hardly any treatment added except for the normal pp.
473 posts
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Posted 08/11/2016 - 23:04
JAK wrote:
Don't get it. Can someone explain please?
Don't get it. Can someone explain please?
Intentional Camera Movement John, not to everybody's taste, i suppose you could say the creative part of photography, some interesting results to those who find it interesting, a bit like Marmite
Kind regards Maria
https://www.facebook.com/pages/Maria-Gray-photography/589310071158079?ref=hl
Last Edited by autumnlight on 08/11/2016 - 23:04
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Posted 08/11/2016 - 23:06
Thanks again all for your interest and comments.
Kind regards Maria
https://www.facebook.com/pages/Maria-Gray-photography/589310071158079?ref=hl
Kind regards Maria
https://www.facebook.com/pages/Maria-Gray-photography/589310071158079?ref=hl
Link
Posted 08/11/2016 - 23:41
autumnlight wrote:
Intentional Camera Movement John, not to everybody's taste, i suppose you could say the creative part of photography, some interesting results to those who find it interesting, a bit like Marmite
Intentional Camera Movement John, not to everybody's taste, i suppose you could say the creative part of photography, some interesting results to those who find it interesting, a bit like Marmite
Yep, never been keen on Marmite sandwiches, yet my old friend at school relished them.
Perhaps you have to like Marmite to appreciate I C M (I C M = Intentional Camera Marmite?)
I'm not intending to sound rude, but I've had colour slides coming out like that and the best use I could find for them was to save the mount for something else! I'm positive had I entered any in a club photographic competition it would have been first to go with the comment, "Nothing's sharp, why did you enter it?"
Maybe times have changed but you can't unlearn the knowledge you picked up in the past. I can see the value of a blurry movement picture in a story sequence where perhaps a fugitive is running through the woods to escape capture, but not as a stand alone image.
I can also appreciate movement of trees in a photo may give the impression of a windy day, but at least the background and forest floor would have to be sharp. That might require combining several images to achieve. But a pure blurry photo just looks like it had the wrong exposure (I've had many of those) or the photo took itself accidentally between other intended shots (I can do that too) but I wouldn't normally like to embarrass myself publishing them to the world, other than to show things to avoid in a camera demonstration.
To me I C M is when one would do a panning shot of, say, a vehicle which itself may not be perfectly sharp if it was a slowish exposure but would have a definite blurry background. The blurriness tells the story of the vehicle speed. Another might be to zoom in on a vehicle coming towards you which achieves a similar, although different, result.
If I hadn't come from the 'old school' which says 'something has to be sharp in a photo' how would you sell me the idea of this new approach to I C M? I'm presuming this is now taught in art schools, or is it purely experimental?
Thanks for hearing me out.
John K
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Posted 09/11/2016 - 11:06
AlJones2402 wrote:
X2
I can imagine seeing some of these on canvas in hotel rooms.
Great work. 👍
swarf wrote:
Maria
Some really nice ones here - I prefer the more abstract ones, particularly nos. 1, 5, 6 & 10. For me, the two shed ones don't work as well. Keep at it - I look forward to seeing some more.
Phil
Maria
Some really nice ones here - I prefer the more abstract ones, particularly nos. 1, 5, 6 & 10. For me, the two shed ones don't work as well. Keep at it - I look forward to seeing some more.
Phil
X2
I can imagine seeing some of these on canvas in hotel rooms.
Great work. 👍
X3!
These were my picks also, rather spookily!
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Posted 09/11/2016 - 21:22
JAK wrote:
Yep, never been keen on Marmite sandwiches, yet my old friend at school relished them.
Perhaps you have to like Marmite to appreciate I C M (I C M = Intentional Camera Marmite?)
I'm not intending to sound rude, but I've had colour slides coming out like that and the best use I could find for them was to save the mount for something else! I'm positive had I entered any in a club photographic competition it would have been first to go with the comment, "Nothing's sharp, why did you enter it?"
Maybe times have changed but you can't unlearn the knowledge you picked up in the past. I can see the value of a blurry movement picture in a story sequence where perhaps a fugitive is running through the woods to escape capture, but not as a stand alone image.
I can also appreciate movement of trees in a photo may give the impression of a windy day, but at least the background and forest floor would have to be sharp. That might require combining several images to achieve. But a pure blurry photo just looks like it had the wrong exposure (I've had many of those) or the photo took itself accidentally between other intended shots (I can do that too) but I wouldn't normally like to embarrass myself publishing them to the world, other than to show things to avoid in a camera demonstration.
To me I C M is when one would do a panning shot of, say, a vehicle which itself may not be perfectly sharp if it was a slowish exposure but would have a definite blurry background. The blurriness tells the story of the vehicle speed. Another might be to zoom in on a vehicle coming towards you which achieves a similar, although different, result.
If I hadn't come from the 'old school' which says 'something has to be sharp in a photo' how would you sell me the idea of this new approach to I C M? I'm presuming this is now taught in art schools, or is it purely experimental?
Thanks for hearing me out.
autumnlight wrote:
Intentional Camera Movement John, not to everybody's taste, i suppose you could say the creative part of photography, some interesting results to those who find it interesting, a bit like Marmite
Intentional Camera Movement John, not to everybody's taste, i suppose you could say the creative part of photography, some interesting results to those who find it interesting, a bit like Marmite
Yep, never been keen on Marmite sandwiches, yet my old friend at school relished them.
Perhaps you have to like Marmite to appreciate I C M (I C M = Intentional Camera Marmite?)
I'm not intending to sound rude, but I've had colour slides coming out like that and the best use I could find for them was to save the mount for something else! I'm positive had I entered any in a club photographic competition it would have been first to go with the comment, "Nothing's sharp, why did you enter it?"
Maybe times have changed but you can't unlearn the knowledge you picked up in the past. I can see the value of a blurry movement picture in a story sequence where perhaps a fugitive is running through the woods to escape capture, but not as a stand alone image.
I can also appreciate movement of trees in a photo may give the impression of a windy day, but at least the background and forest floor would have to be sharp. That might require combining several images to achieve. But a pure blurry photo just looks like it had the wrong exposure (I've had many of those) or the photo took itself accidentally between other intended shots (I can do that too) but I wouldn't normally like to embarrass myself publishing them to the world, other than to show things to avoid in a camera demonstration.
To me I C M is when one would do a panning shot of, say, a vehicle which itself may not be perfectly sharp if it was a slowish exposure but would have a definite blurry background. The blurriness tells the story of the vehicle speed. Another might be to zoom in on a vehicle coming towards you which achieves a similar, although different, result.
If I hadn't come from the 'old school' which says 'something has to be sharp in a photo' how would you sell me the idea of this new approach to I C M? I'm presuming this is now taught in art schools, or is it purely experimental?
Thanks for hearing me out.
I wouldn't try to sell you this, i think your mind has already been made up
as for teaching it in college etc. i would have no idea, i can see where you are coming from though about the blur and all the hard work we put in to our photography to get our images as sharp as we can, as with most things i can only say to each their own, there are a few of us who have experimented and the results are interesting? i for one will still be having more of a crack at it, so maybe don't watch this space in the nicest possible way Kind regards Maria
https://www.facebook.com/pages/Maria-Gray-photography/589310071158079?ref=hl
Link
Posted 09/11/2016 - 22:34
autumnlight wrote:
I wouldn't try to sell you this, i think your mind has already been made up as for teaching it in college etc. i would have no idea, i can see where you are coming from though about the blur and all the hard work we put in to our photography to get our images as sharp as we can, as with most things i can only say to each their own, there are a few of us who have experimented and the results are interesting? i for one will still be having more of a crack at it, so maybe don't watch this space in the nicest possible way
I wouldn't try to sell you this, i think your mind has already been made up
as for teaching it in college etc. i would have no idea, i can see where you are coming from though about the blur and all the hard work we put in to our photography to get our images as sharp as we can, as with most things i can only say to each their own, there are a few of us who have experimented and the results are interesting? i for one will still be having more of a crack at it, so maybe don't watch this space in the nicest possible way Cheers for that.
John K
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Posted 21/11/2016 - 17:49
Great attempts! 4,6 and especially no 10 for me!
Andy
Andy
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K10D
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Best regards