One of the reasons that I’m so passionate about intentional camera movement is the fact that the most mundane, non-iconic location you can imagine can be transformed into a compelling piece of art. With addition of texture layers, the light doesn’t even have to be perfect. In fact, it can even be quite bad, lens flare and /or blown out skies, not a problem.
The concept of pre-visualization is a popular topic that has been covered numerous times in the literature, I’ve also touched on the topic in previous posts, I’m aware that I run the risk of repeating myself.
However, I feel that the image in this post [click to expand] serves as a very good example of what can be achieved with texture layers and intentional camera movement exposures if you know what can be done processing, in other words, having the ability to pre-visualize.
By the time I got to the scene depicted here, the sun was creating a bad lens flare that resulted in a very low contrast, washed out image. Without the ability to pre-visualize, I would never had shot this scene. Not in a million years.
Generally speaking when it comes to intentional camera movement, in my mind it’s all about pre-visualization. You have a static scene and have to be able to see what can be achieved with movement. Incidentally, when it comes to traditional long exposure scenes, you have to be able to visualize the impact passage of time will have on your composition. With this in mind, these two techniques are very similar even though the key elements are different, movement and time.
Illustration from my ‘Visions‘ portfolio.