When I read a book, I’m often immediately drawn to that group of pages in the middle that have darker or lighter edges. They are usually made out of thicker, glossy material and bear photos, illustrations, or some important aside.
They are also sometimes the only part of the book worth looking at.
Photographers spend most of their time trying to take sharp photos. They set their camera on a tripod and ensure a fast enough shutter speed. They’ll sit around for hours waiting for the wind to die down before they trigger the camera. And when they do trip the shutter, it’s usually with a remote switch so they don’t have to touch the camera and shake it.
I’ll admit, I typically do the same. There’s nothing worse than taking a shot that you think will look amazing when printed, only to discover there was a slight shake in the camera and now the picture just looks bad.
Lately, however, I’ve been experimenting with the practice of intentionally blurring photographs (known as ICM or Intentional Camera Movement). I got into it by accident. I was out taking photographs one day when, for whatever reason, I moved the camera significantly while triggering the shutter. The lines and color combining that resulted were amazing. They almost looked like paint brush strokes. So I decided to try doing it on purpose. I would paint with my camera.
There’s a big difference between a blurry photo and an intentionally blurred photo. Blurry photos look like you were trying to get a clear, sharp image but you didn’t know what you were doing. An intentional or artistically blurred photo should remind you of something in a fine art gallery. If you’re going to try it, keep in mind that you still have to adjust for the optimum shutter speed, ISO and aperture.
When I shoot blurs I’m out in the early morning or late evening for the best light. I’ll set my ISO at 100 and open up my aperture fairly wide to an f/16 or f/22. There’s no need to blur your background with a short depth of field since the whole image will be soft. The shutter speed should be slow enough to allow your movement to matter. However, you don’t want it too slow or there will be no distinction at all.
The point is, you still have to pay attention to everything you normally would when shooting any type of photography. With the wrong light, subject, composition or exposure, your blur photography will still look bad.
Below is one of my favorite blurs. I was staying at an Airbnb in western Colorado farm country. While I was taking a walk one early morning I looked off in some bare trees in the middle of a field. I couldn’t believe it when I saw a muster of peacocks perched on the branches. There were eight or ten of them.
I didn’t have my camera at the time so I came back the next morning with it and tried to capture a few images. It was pretty early (read low light) and I was hand holding the camera. I knew I wasn’t going to get perfect pictures so after taking a few to prove to myself that I was actually seeing apparently wild peacocks in the middle of Colorado, I tried taking some blurs of them while they were flying down from the trees. The result was an oil painting like image.
Since then, I’ve blurred many subjects. It adds a whole new aspect to my photography and gives some variation to what I produce. It’s also artistically freeing during those times when I know I can’t capture perfectly sharp pictures. You can use any situation to your advantage, even when the situation seems to be giving you a disadvantage.