PHOTOGRAPHY WITH JEFF BENTZ | EXPLORING ICM PHOTOGRAPHY

By Jeff Bentz

This happened to me about two years ago. That’ s when a friend introduced me to intentional camera movement photography— usually called ICM— and it was just what I needed. It was liberating and completely different from how I normally worked, allowing me to play with my camera again while still creating something interesting.

As photographers, we spend a great deal of time trying to keep our cameras still. We use fast shutter speeds, image stabilization, and tripods, all in pursuit of a perfectly sharp photograph. ICM invites us to do the exact opposite.

With ICM, you deliberately move the camera while taking the picture. Straight lines stretch, colors blend together, and familiar subjects become soft and impressionistic. The finished photograph can look more like a watercolor or abstract painting than a traditional image.

The basic idea is simple: use a slow shutter speed and move the camera while the shutter is open. How you move the camera— and how quickly— determines the look of the image.

Horizontal movement is a natural choice for beaches and open landscapes. A beach scene is already divided into layers of sand, water, and sky. By gently sweeping the camera side to side, you can blend those layers into flowing bands of color. The white foam from a breaking wave becomes a brushstroke across the frame, while the sand, ocean, and sky soften into shades of tan and blue. A slow, smooth movement can create a peaceful feeling, while a faster sweep conveys the energy of the wind and surf.

Vertical movement works especially well with trees, grasses, and tall buildings. Moving the camera upward or downward through a grove of trees turns the trunks into graceful lines surrounded by soft areas of color.

You can also zoom the lens while taking the picture. This creates lines that appear to rush toward or away from the center of the frame, which can be especially effective with city lights, architecture, signs, or groups of trees. The result feels energetic and dramatic, pulling the viewer directly into the scene.

You don’ t need a bag full of special equipment to try ICM. Any camera that lets you select a slower shutter speed will work, and many smartphones offer settings or apps that create similar effects. A good starting point is between 1 / 4 second and one second. If the image is too bright, lower the ISO and select a smaller aperture.

On a sunny day, you may need a neutral-density filter to get the shutter speed where you want it. I use a variable ND filter, which lets me adjust how much light reaches the sensor. Think of it as sunglasses for your camera. By reducing light, the filter allows you to use a longer exposure without washing out the photograph.

There may be times when a tripod can be helpful, especially when you want greater control over the direction of movement. Beyond that, all you really need is a subject with interesting colors or shapes— and a willingness to experiment.

ICM involves plenty of trial and error. One frame may be dull, the next chaotic, and the one after that surprisingly beautiful. A small change in shutter speed or movement can completely change the result. Take plenty of photographs, try different directions, and don’ t judge the results too quickly. Sometimes an image that first appears imperfect becomes a favorite after you spend time with it.

There are no strict rules. You can leave part of the subject recognizable or blur it until only color and movement remain. Move the camera smoothly, give it a little shake, follow the lines of a wave, or invent a movement of your own.

ICM encourages curiosity and replaces precision with possibility. You are no longer simply recording the scene in front of you— you are painting with light, color, and motion.

Thank you to everyone who has shared positive feedback about my articles— I truly enjoy hearing from you. If you’ d like to see more of my photography, please stop by and say hello during Morgan Hill Open Studios, October 24 – 25. I’ ll be exhibiting at the Machado School location on Sycamore Drive. Also, Cura Contemporary Gallery will host an artist reception from 6 – 8 p. m. on October 20. I hope to see you there!

Jeff Bentz is a Gilroy-based travel and landscape photographer whose work spans action sports, global destinations, and iconic local landmarks. Driven by a passion for storytelling, he captures evocative imagery meant to inspire fellow creatives, photography lovers, and art appreciators alike. View his portfolio at jeffbentzphotography. com and follow along on Instagram @ jeff _ bentz _ photography.

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