Most of us would like to avoid camera movement, most of the time. A steady camera helps to record a sharp image free from artifacts of motion like smears and fuzzy edges. However, if you have not tried intentional camera movement (ICM), you should give it a shot.
What is Intentional Camera Movement
With intentional camera movement (ICM), the resulting photographs will be abstract, so the subject matter is not an issue. You may be interested in creating lines and shapes that may need small light sources that end up as a series of lines. More light sources mean more lines, typically parallel to each other. Although I have done this kind of abstract work, it is hard for me to name typical scenes.
I remember the flickering lights on the shore as we were traveling on a ferry in Istanbul. Those lights gave me a few such photographs, but I am sure there are plenty more that I am not thinking of. Bill Clark is the master of this kind of abstract photography. I wrote about one of his exhibits a while ago, but his site has a richer collection for you to enjoy.
If, on the other hand, you are interested in creating colorful splashes, look for the presence of color. This may be sweeping shades of similar colors or a joyful dance of many colors. In the fall, I look for fallen leaves on still green grass or the turning colors of the leaves still on the branches. Yet, this is only one example. Keep your mind open! You may want to visit an earlier article about pure abstract photography to see more examples. Tom Reaume does this kind of work exclusively.
How to Expose
The intentional camera movement requires a slow enough shutter speed for the camera movement to create lines, streaks, and smears. This may mean setting the camera to ISO 100. Set your f-stop to a small setting, like f-22. Then get the shutter speed to somewhere in the range of several seconds to give yourself a little time window in which to click the shutter and keep moving the camera. Your first shots may not be what you expect.
Keep in mind that you may need to process these shots more strongly than your regular frames. Since the moving color sources expose larger swaths of areas, the contrast may be lower. No problem. We’ll fix that in post-processing.
Click on the images to see them larger, uncropped, and read their titles.

Then, experiment with different camera movements during the slow exposure. Be aware of how many seconds you have for your move. Start moving the camera and then click the shutter or start the exposure then move the camera. If you intentionally or unintentionally hesitate at any time, the frame may record some recognizable elements. Lingering at the end of the exposure may be difficult to pull off as it may be harder to gauge the time left.
Moving in straight lines will create more linear color streaks, and the speed of the movement may determine the lengths of colors. You can move the camera in waves, circles, angles, and anything else you can think of. Rotating the camera on the lens axis with or without zooming will create spiraling elements.
Post Processing
When you bring these images into Lightroom or Photoshop, you may find that the color streaks may lack contrast and saturation. Be generous with the exposure and presence settings. Experimentation at this stage is also important. The entire experiment is like getting buckets of paint and throwing them on a wall.
Conclusion
Remember, there is no right or wrong way of doing all this. If the resulting colors, lines, and shapes create a frame that satisfies you, that’s what matters. Oh, don’t ignore the shelves of your supermarket that are filled with colorful boxes, jars, bottles, … The following are from our local Dave’s Supermarket. For the record, I have permission to take photographs in their store. I encourage you to get permission before taking photographs in any store. You will find them more cooperative than you may think.












Haluk Atamal
Thanks for sharing Cemal. My first experience with colour streaks was quite late into my photo-life. About 20 years ago, I was trying to take a shot of the tunnel lights from inside a car and the exposure was too long for me to keep the camera stable. I am still keeping the result because I had liked it a lot.
The market shelves are great colour sources but, as you said, it is absolutely necessary to get a permission. So far I have never attempted it in Turkey. Looking at your photos (and the others which are not blurred under a different title), I think I should!
Take care and best regards,
Haluk
A. Cemal Ekin
The potential for this kind of photography is everywhere, Haluk. Even inside a tunnel, as you found out. I have taken photographs in other stores as well, generally, they are cooperative. Let’s see the colors of Antalya!
Take care,
Cemal
Bill Clark
Well done primer on camera movement! I particularly like your thought of recommending grocery store shelves as your models. Happy to see others trying this creative and rewarding technique.
And of course, thanks for the nod in your discussion.
Keep it moving!
A. Cemal Ekin
Thanks for stopping by and sharing your thoughts, Bill. Your work is quite distinctive despite the fact that it is also ICM based. As you said, keep it moving!
Cemal