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NZPhotographer Issue 61, November 2022

As of December 2022, NZPhotographer magazine is only available when you purchase an annual or monthly subscription via the NZP website. Find out more: www.nzphotographer.nz

As of December 2022, NZPhotographer magazine is only available when you purchase an annual or monthly subscription via the NZP website. Find out more: www.nzphotographer.nz

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Dance of Life<br />

Nikon D810, 24-70mm lens @ F13, 1/5s, ISO40<br />

ICM AND DOUBLE EXPOSURE<br />

Intentional Camera Movement, ICM, is another<br />

technique which isn’t only confined to landscape<br />

photography. I really enjoy playing around with this<br />

technique when working with models, as it gives a<br />

fantastic, ethereal sense of movement within the<br />

image.<br />

I often find I get many images that aren’t successful,<br />

but there is always one that comes out sensational.<br />

Therefore, don’t give up!<br />

In my image ‘Dance of Life’ which was taken in full<br />

daylight under the shade of a tree, I had my camera<br />

set at F13, 1/5s, ISO40. By hand-holding and spinning<br />

my camera whilst trying to keep the lens in a centred<br />

position, I achieved a beautiful blurry movement,<br />

creating a slightly abstract image, but one in which<br />

you can still make out the details of a girl with flowers<br />

in her hair. I then applied a leather grain texture using<br />

a closeup photo of a black leather chair to this image<br />

in-post.<br />

It is often a good idea to explain to your model what<br />

you are trying to achieve, as the practice of wobbling<br />

the camera can look quite bizarre from a model’s<br />

point of view!<br />

With cameras being as clever as they are today, we<br />

can access many different techniques to change the<br />

dynamics of what we see before us. One of these is<br />

the double exposure setting.<br />

My image ‘Mad Science’ was a bit of a fluke and is<br />

a series of three multiple exposures made in-camera.<br />

I really enjoy the chaos in this image that wouldn’t<br />

be present if it had been a single exposure. My postprocessing<br />

techniques for this creation were the same<br />

as for most of my other images - I tend to always<br />

convert my images to black and white, then decide<br />

whether the colour or black and white version is<br />

visually stronger.<br />

38 <strong>November</strong> <strong>2022</strong> <strong>NZPhotographer</strong>

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