subscribe 0330 333 1113 I http://www.amateurphotographer.co.uk I 6 July 2019 37
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10 top tips
1
Experiment with the way you
move the camera. With one
scene in front of you try moving
the camera vertically, horizontally,
and in shivering, rolling and
organic movements. You can
then compare the results and
determine which works for the
image you want to create.2
Be aware of highlights in the
composition. In much the
same way as one may approach
light painting, these elements can
be used to draw lines through
your image. This is especially true
when photographing running
water or if light is coming through
gaps in foliage.3
Use live view while shooting
in ICM. This will help you
determine if you need to adjust
ISO, white balance, exposure
compensation or shutter speed to
create the image you’re after.4
Using ND fi lters can allow
you to shoot and move the
camera over longer periods of
time, which can help to create a
softer effect in your imagery.5
Look for interesting colour/s,
pattern and texture in your
subject as most detail will be lost.
However, pausing briefl y while
shooting can help to retain some
detail in the scene.6
Have lots of space on your
memory card or carry spares;
it is surprising how many ICM
images you can take in a relatively
short amount of time.7
ICM is well suited to grey days
and poor light conditions when
other styles of photography may
not be possible. However, don’t be
put off experimenting in full sun.8
Look for high-contrast and
bold patterns in the images
you are going to use for multiple
exposure; this will help bring out
form when layers are combined.9
Build up multiple-exposure
portrait images by shooting
your subject from multiple angles,
distances or by combining ICM
and static shots.10
Keeping a journal
of experiments and
combinations that have worked is
a good idea, as without a record,
recreating effects may prove
diffi cult at a later date.Soft ware
I process my images first in Adobe
Lightroom, making minor adjustments
and corrections. I then use Photoshop
to layer multiple exposures and add
textures, if applicable. I also use Nik
Collection’s Analog Efex Pro 2; the film
options in this software are especially
useful for adjusting the tone of the final
image in ME images.
elements such as tree bark, soil,
mosses or clouds.
I don’t have an in-camera
ME function, so I use Adobe
Photoshop to layer my work,
experimenting with endless
combinations of blending
modes, and using the selection
tools to accentuate or repeat
elements. I am a great fan of
in-camera work, which I hope
one day to experiment with,
but also an advocate of using
what you have to explore
both the nature in your local
landscape and your creativity
within. There are a few limits
to this form of photography
and the techniques are simple
to learn; as such it off ers the
scope for boundless travel
through your imagination.
Wild garlic captured using intentional camera movement and multiple exposures to create a work of art
This image is called
‘Golden Leaves’.
A textured
background such
as this one can be
added in Photoshop